Archive

Animation

Rotary Signal Emitter – Side A “Belleville Springs / Overmodulation High”

Sculpture is an audiovisual performance duo from London – electronic music producer, Dan Hayhurst, and animator, Reuben Sutherland.

The Rotary Signal Emitter is an LP that can be played conventionally or as a self contained film. You just have to place the record on a turntable and direct a bright lamp at the record as it plays to film the record as it spins.

Sutherland ‘DJs’ with home-made zoetropic discs, intricate concentric rings of illustrated frames, projecting fragments of looping images at 33, 45 and 78 rpm – pre-Edisonian imaging technology combined with a digital video camera.

Hayhurst deploys prepared audio material (found tapes, lo-fi electronics, computer programming, and analogue noise) across 1⁄4” tape loops, hardware sampler, cassette walkman and CDJ deck.

McLaren_Norman_43

Animation by Norman McLaren, Scotthish/Canadian film maker, pioneer in animation and filmmaking. His early experiments in animation included actually scratching and painting the film stock itself.

This one is from 1964 and explores the concept of canon through several short animations.


Alma Alloro is a Berlin based artist. She describes herself as a contemporary retro-futuristic artist.

Further Abstract is a series of drawings converted to a GIF animation and then converted back to a manual animation spinning from a bicycle wheel. A triangle, a square and a circle move in space, spin, decrease, increase transform and disappear in series of short animated loops.

The drawings became a series of animated GIFs, exhibited at Caesura Gallery. The animations then stepped back from digital to analog, bringing the manual groove one step further, with images on spinning wheel, the animation triggered by a strobe light. This subject works meticulously for hours and hours on a seemingly pointless mission. This meticulous process is contradicted by the extremely short duration of the animation itself.

The work brings forward the production process, recanting the roughness of an earlier aesthetic in animation such as those expressed in the experimental abstract films of Hans Richter’s ‘Rhythmus 21’ from 1921.