Animate Assembly: Animation and New Life

如今，动画已经大量涌入3D模拟和计算模型领域，背景从经济建模和生态激进主义到建筑和城市设计、医学和外科、教育形式和军事训练计划。它已经成为艺术家、细胞生物学家、金融分析师和城市规划者的重要可视化工具。数字动画既在个体层面上干预生命过程，延长和摧毁生命，也在巨大的行星现象层面上干预生命过程。动画的政治背景和后果已经发生了如此大的变化，以至于数字动画现在被部署在人权法庭、全球激进主义运动和投机的未来愿景中。在这种情况下，生活沉浸在由软件、基础设施和劳动力组成的庞大网络中的动画中，这需要研究远远超出过去更有限和更具体的动画，其中大部分是在电影院或电视上展开的。扩大数字动画的关键作用需要重新考虑动画形象的政治和伦理含义，并重新想象将动画视为生活的组成部分意味着什么，以及这句话的所有本体论和经验共鸣：动画作为一种生活形式，作为生活的模型，作为影响生活的决策的场所。研究网络将从三个角度探索这些新的动画部署的含义：动画，动画主义，动画：1。动画，日语中的动画术语，植根于技术想象力。自从电影照相机发明以来，图像在技术上得到了动画处理。因此，迪士尼的动画片、俄罗斯的《乘法》和现在全球流行的日本动漫，都参与了一种由电影设备的各种组件(针幕、魔灯、变速绳)设置的“运动图像”的演变。我们的方法超越了技术动画图像的媒体历史，并包括对当今技术引导的想象力的考虑，因为它在东南亚的愿景和动画未来的理论中脱颖而出。思考动漫，也就是反思AR和VR等新的动画形式的出现和迅速主导，这些形式将动画体验融入娱乐和日常生活，并考虑动画的材料，特别是液晶，这是一种生命形式。2.动画植根于动画动画是在西方现代性反复出现的噩梦--动画主义中遇到的。正如M·陶西格等学者所指出的那样，在被现代人种学和人类学认定为“万物有灵论者”的社会、文化和习俗中，根本不存在万物有灵论。“动物主义”暗示的是伴随着文化-历史文物的置换和崇拜的现代体验的边界。最近，万物有灵论冲动的诊断已经成为当代艺术展览实践中的一个关注问题，并在充满活力的物质或面向对象的本体论和思辨唯物主义的思想中找到了共鸣。动画和物体的新生命困扰着我们的视觉，以及我们与即时/死亡(神经科学)的关系；它引发了对诸如即时/唯物主义等既定二分法的重新思考，并引发了围绕面向对象的本体论和现实主义魔术的辩论。动画的根源于动物在古典哲学中，亚里士多德的《灵魂论》被翻译成拉丁文，意思是既不是技术上的冲动，也不是万物有灵论者的冲动，而是一种形而上学的冲动，即赋予灵魂。对于亚里士多德来说，灵魂(心灵)的占有应该被理解为生物的本质，更应该被理解为人类的精髓。对动画的这一更广泛的理解开启了对当代技术和中介环境中的跨性人和死后人的论述的动画片研究。我们需要评估动画环境中目前的动物共鸣

Animation today has proliferated into fields of 3D simulation and computational models, in contexts ranging from economic modelling and ecological activism to architectural and city design, medicine and surgery, educational formats and military training programmes. It has become a significant visualization tool for artists, cellular biologists, financial analysts and urban planners alike. Digital animations intervene in life processes at both the level of individual bodies, to prolong and destroy life, and at the vast scale of planetary phenomena. The political contexts and consequences of animation have changed so, that digital animation is now deployed in human rights tribunals, global activism campaigns and speculative future visions. Under these conditions, life is enmeshed in animation in the vast network of software, infrastructure and labour, which require studies far beyond the more limited and specific animation of the past, much of which unfurled in cinemas or on TVs. The expanded critical role of digital animation requires a reconsideration of the political and ethical implications of the animated image and a reimagining of what it means to propose animation as constitutive of life, with all the ontological and experiential resonances of this phrase: animation as a form of life, as a modelling of life, as a site for life-impacting decisions.The research network will explore the implications of these new deployments of animation from 3 angles: Anime, Animism, Anima:1. Anime, the Japanese term for animation, is grounded in Techno-Imagination. Since the invention of the cinematograph, images have been animated technologically. Hence animated cartoons by Disney, Russian 'multiplication' and the now globally consumed Japanese 'anime', which all participate in the evolution of a genre of 'images set in motion' by various components of the cinematic apparatus (pinscreen, magic lanterns, zoetropes). Our approach reaches beyond a media history of technically animated images and includes consideration of today's technologically guided imagination as it comes to the fore in South East Asian visions and theorizations of animated futures. To think about anime is to reflect too on the emergence and rapid domination of new animated forms such as AR and VR, which integrate animated experience into entertainment and everyday life and to consider the materials of animation, notably liquid crystals,which are a type of lifeform. 2. Animation grounded in AnimismAnimation is encountered in the recurrent nightmare of Western Modernity named Animism. As scholars such as M. Taussig show, no such thing as Animism existed in the societies, cultures and practices decreed 'animist' by modern ethnography and anthropology. 'Animism' hints rather at a boundary of modern experience that accompanies the displacement and fetishisation of cultural-historical artefacts. Recently the diagnosis of an animist impulse has become a concern in contemporary art exhibition practices and finds echo in ideas of Vibrant Matter or Object Oriented Ontology and Speculative Materialism. Animation and new life of objects haunt our vision of 'the lively' and our relation to im/mortality (neuroscience); it induces a reconsideration of established dichotomies such as im/materialism and engenders debates around object-oriented ontology and Realist Magic.3. Animation's root in AnimaIn classical philosophy, Aristotle's treatise On the Soul, translated into Latin as De Anima implies neither a technological nor an animist impulse but a metaphysical one, that is, to ensoul. For Aristotle, the possession of a soul (psyche) is to be understood as the essence of living things and more so as the quintessence of human being. This strand of a wider understanding of Animation opens animation studies to discourses of the trans- and posthuman in contemporary technological and mediated environments. We need to assess the current resonances of anima in an animated environment