Re: [Frameworks] animation

[FrameWorks Admin]

Hi Bernie,

I think the McLaren-Kubelka concept of between the frames is explainable like 
this:
The brain creates the illusion of smooth motion during the black interval due 
to a process called the phi phenomenon. This phenomenon was first demonstrated 
in a psychopercpetual experiment in which subjects in a dark room were 
presented with a light blinking on the left side of the visual field and 30 
milliseconds later another light on the right side. Subjects experienced one 
light moving from left to right. It is the same process that allows for 
flickering bulbs around a theatre marquis to appear in motion. A later 
experiment with a red light on the left and a green light on the right elicited 
the experience of the moving light changing color halfway in its journey across 
the visual field, leading to two theories of how the phi phenomenon works: the 
Leninist brain that withholds information from consciousness until later, or 
the Stalinist brain that rewrites history after the fact.

In contrast, I think the Deleuze concept of image-movement is dependent on the 
previous theories of Deleuze such as from Mille Plateaux and also Henri 
Bergson’s theories of matter and mind. It is quite an opposing theory. Deleuze 
rejects the notion that motion is an illusion created from stills but rather 
that an image in described by its continuity, and he delineates different 
categories of image-movements: expressions of feelings, expressions of 
behaviors, etc. The examples in the work are focused on certain shots in 
certain movies and the ways in which time is embodied in the image. It is a 
theory much more couched in philosophical theory than in perceptual experience.

Regarding animation and live action, the phi phenomenon kicks in whenever we 
see frames flickering in the dark - the brain creates the illusion of motion 
during the black spaces, just as we create dreams at night when our eyes are 
closed, in the space between the days. Therefore it is the same effect whether 
watching live action, fast motion, animation, but it is most pronounced in 
films where similarities within the frame contrast with chaos from frame to 
frame. This is visible for example in Gary Beydler’s Pasadena Freeway Stills, 
the hands jumping around on the outer edge of the frame during the central 
section, or during a film in which every frame is of a different round object 
(ashtray, hubcap, clock…) so that roundness is conveyed as a constant 
regardless of the chaos in the frame.

The McLaren Kubelka concept holds for both animation and live action and even 
all experimental or scientific films, whereas the Deleuze concept applies only 
to specific shots of classic films.

Pip Chodorov


> On Aug 22, 2020, at 8:50 AM, Bernard Roddy  > wrote:
> 
> Well, the first volume of Deleuze's work is devoted to "the movement image."
> 
> On Fri, Aug 21, 2020 at 5:22 PM Michael Betancourt 
> mailto:hinterland.mov...@gmail.com>> wrote:
> Hi Bernard, 
> 
> I have some questions before we get started.
> 
>> 
>> On Aug 21, 2020, at 5:41 PM, Bernard Roddy > > wrote:
>> 
>> 
>> 
>> Hello, Michael:
>> 
>> When you make reference to a conception of motion pictures "as being 
>> produced in the differential between different frames," how is that 
>> different from the moving image produced by continuously running a movie 
>> camera while directing it at live action?
> 
> I explained that already. It was what my post was about: how the cinematic 
> image is conceived as a shot extracted from reality or as something else.
> 
> 
>> 
>> When thinking about Deleuze and the "extension of his proposals, such as the 
>> movement image, to animation," what do you understand "the movement image" 
>> to consist in? Part of the problem with the way this list works is that 
>> readers are directed elsewhere rather than addressed in terms accessible 
>> within a public "discussion." So the reference to a note in Cinema 1that is 
>> to substantiate Deleuze's remarks on the movement image is, for me, 
>> counter-productive, unless the idea is shared here in an explanation.
>> 
>> You seem to me to be offering a conception of movement that is not from 
>> Deleuze when you quote McLaren and Kubelka. One might well wonder what 
>> "between frames" means, or what a "perceptual construct" is. I would contest 
>> the idea that Deleuze is talking about something an audience invents, or 
>> that he would frame things in terms of the difference or resemblance between 
>> a pair of frames.
>> 

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] animation

[Bernard Roddy]

Well, the first volume of Deleuze's work is devoted to "the movement image."

On Fri, Aug 21, 2020 at 5:22 PM Michael Betancourt <
hinterland.mov...@gmail.com> wrote:

> Hi Bernard,
>
> I have some questions before we get started.
>
>
> On Aug 21, 2020, at 5:41 PM, Bernard Roddy  wrote:
>
> 
>
> Hello, Michael:
>
> When you make reference to a conception of motion pictures "as being
> produced in the differential between different frames," how is that
> different from the moving image produced by continuously running a movie
> camera while directing it at live action?
>
>
> I explained that already. It was what my post was about: how the cinematic
> image is conceived as a shot extracted from reality or as something else.
>
>
>
> When thinking about Deleuze and the "extension of his proposals, such as
> the movement image, to animation," what do you understand "the movement
> image" to consist in? Part of the problem with the way this list works is
> that readers are directed elsewhere rather than addressed in terms
> accessible within a public "discussion." So the reference to a note in
> Cinema 1that is to substantiate Deleuze's remarks on the movement image is,
> for me, counter-productive, unless the idea is shared here in an
> explanation.
>
> You seem to me to be offering a conception of movement that is not from
> Deleuze when you quote McLaren and Kubelka. One might well wonder what
> "between frames" means, or what a "perceptual construct" is. I would
> contest the idea that Deleuze is talking about something an audience
> invents, or that he would frame things in terms of the difference or
> resemblance between a pair of frames.
>
>
> Yes, that is the point of what I said.
>
>
> You want to hold that filmmakers who "engage with cinema-as-animation" are
> to be separated somehow from those who would produce live action movies.
> What does it mean to engage with cinema-as-animation? Does that require
> that one watch cartoons? Is it a production method? Or could a live action
> filmmaker engage with live action that way as well? We haven't, after all,
> established that "cinema-as-animation" is to be distinguished from cinema
> as anything else.
>
>
> That is you saying that, not me.
>
>
> I am resisting the reliance on specific remarks in print anywhere from,
> say, Deleuze or a scholar, since I prefer to explain what i understand
> right here. So I am not particulalry interested in a debate over what
> scholars or philosophers have actually said somewhere. Scholarship for me
> is secondary to thinking, in as far as we can do that. (That's a tentative
> stand.)
>
>
> Ok. You're the one who brought up Deleuze. How about you explain what you
> mean first?
>
>
>
> The "approach" that you call more plastic appears to be a working method
> familiar from a certain kind of production practice. That allows you to
> draw on a technique involving the production of a Daffy Duck cartoon. This
> is a nice way to include students interested in Disney. But I don't see how
> it helps us appreciate anything about the movement image or the way in
> which works in cinema are to be understood. My interest, of course, stems
> from ideas from the history of philosophy that Deleuze thinks are
> significant for understanding cinema.
>
>
> Daffy Duck is not a Disney character. If you want to demand precision and
> extensive explanations from others, how about you do it too?
>
> Michael
>
>
>
> Michael Betancourt, Ph.D
> https://michaelbetancourt.com
> cell 305.562.9192
> https://www.amazon.com/Michael-Betancourt/e/B01H3QILT0/
> Sent from my phone
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] animation

[Michael Betancourt]

Hi Bernard, 

I have some questions before we get started.

> 
>> On Aug 21, 2020, at 5:41 PM, Bernard Roddy  wrote:
> 
> 
> Hello, Michael:
> 
> When you make reference to a conception of motion pictures "as being produced 
> in the differential between different frames," how is that different from the 
> moving image produced by continuously running a movie camera while directing 
> it at live action?

I explained that already. It was what my post was about: how the cinematic 
image is conceived as a shot extracted from reality or as something else.


> 
> When thinking about Deleuze and the "extension of his proposals, such as the 
> movement image, to animation," what do you understand "the movement image" to 
> consist in? Part of the problem with the way this list works is that readers 
> are directed elsewhere rather than addressed in terms accessible within a 
> public "discussion." So the reference to a note in Cinema 1that is to 
> substantiate Deleuze's remarks on the movement image is, for me, 
> counter-productive, unless the idea is shared here in an explanation.
> 
> You seem to me to be offering a conception of movement that is not from 
> Deleuze when you quote McLaren and Kubelka. One might well wonder what 
> "between frames" means, or what a "perceptual construct" is. I would contest 
> the idea that Deleuze is talking about something an audience invents, or that 
> he would frame things in terms of the difference or resemblance between a 
> pair of frames.
> 

Yes, that is the point of what I said.


> You want to hold that filmmakers who "engage with cinema-as-animation" are to 
> be separated somehow from those who would produce live action movies. What 
> does it mean to engage with cinema-as-animation? Does that require that one 
> watch cartoons? Is it a production method? Or could a live action filmmaker 
> engage with live action that way as well? We haven't, after all, established 
> that "cinema-as-animation" is to be distinguished from cinema as anything 
> else.
> 

That is you saying that, not me.


> I am resisting the reliance on specific remarks in print anywhere from, say, 
> Deleuze or a scholar, since I prefer to explain what i understand right here. 
> So I am not particulalry interested in a debate over what scholars or 
> philosophers have actually said somewhere. Scholarship for me is secondary to 
> thinking, in as far as we can do that. (That's a tentative stand.)
> 

Ok. You're the one who brought up Deleuze. How about you explain what you mean 
first?



> The "approach" that you call more plastic appears to be a working method 
> familiar from a certain kind of production practice. That allows you to draw 
> on a technique involving the production of a Daffy Duck cartoon. This is a 
> nice way to include students interested in Disney. But I don't see how it 
> helps us appreciate anything about the movement image or the way in which 
> works in cinema are to be understood. My interest, of course, stems from 
> ideas from the history of philosophy that Deleuze thinks are significant for 
> understanding cinema.
> 

Daffy Duck is not a Disney character. If you want to demand precision and 
extensive explanations from others, how about you do it too?

Michael



Michael Betancourt, Ph.D
https://michaelbetancourt.com 
cell 305.562.9192
https://www.amazon.com/Michael-Betancourt/e/B01H3QILT0/
Sent from my phone___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] animation

[Bernard Roddy]

Hello, Michael:

When you make reference to a conception of motion pictures "as being
produced in the differential between different frames," how is that
different from the moving image produced by continuously running a movie
camera while directing it at live action?

When thinking about Deleuze and the "extension of his proposals, such as
the movement image, to animation," what do you understand "the movement
image" to consist in? Part of the problem with the way this list works is
that readers are directed elsewhere rather than addressed in terms
accessible within a public "discussion." So the reference to a note in
Cinema 1that is to substantiate Deleuze's remarks on the movement image is,
for me, counter-productive, unless the idea is shared here in an
explanation.

You seem to me to be offering a conception of movement that is not from
Deleuze when you quote McLaren and Kubelka. One might well wonder what
"between frames" means, or what a "perceptual construct" is. I would
contest the idea that Deleuze is talking about something an audience
invents, or that he would frame things in terms of the difference or
resemblance between a pair of frames.

You want to hold that filmmakers who "engage with cinema-as-animation" are
to be separated somehow from those who would produce live action movies.
What does it mean to engage with cinema-as-animation? Does that require
that one watch cartoons? Is it a production method? Or could a live action
filmmaker engage with live action that way as well? We haven't, after all,
established that "cinema-as-animation" is to be distinguished from cinema
as anything else.

I am resisting the reliance on specific remarks in print anywhere from,
say, Deleuze or a scholar, since I prefer to explain what i understand
right here. So I am not particulalry interested in a debate over what
scholars or philosophers have actually said somewhere. Scholarship for me
is secondary to thinking, in as far as we can do that. (That's a tentative
stand.)

The "approach" that you call more plastic appears to be a working method
familiar from a certain kind of production practice. That allows you to
draw on a technique involving the production of a Daffy Duck cartoon. This
is a nice way to include students interested in Disney. But I don't see how
it helps us appreciate anything about the movement image or the way in
which works in cinema are to be understood. My interest, of course, stems
from ideas from the history of philosophy that Deleuze thinks are
significant for understanding cinema.

Bernie








 --

The question of "cartoons vs animation" is, in my opinion, a red herring.
It's more about the conception of motion pictures as being produced either
in 'the shot' or in the differential between different frames.

Deleuze, much like Bazin and Cavell (as well as Eisenstein), is at a basic
level concerned with the shot and its depicted contents, generally produced
via live action production. The extension of his proposals, such as the
movement-image, to animation becomes rapidly problematic, esp. when
considered in relation to purely artificial constructions of movement in
animated and avant-garde works. He makes the restriction of his comments
clear in the notes he gives at the very start of *Cinema 1.*

Both McLaren and Kubelka arrived at differences between individual frames,
articulated over time. McLaren's proposal of "what happens between frames"
just like Kubelka's comment that “it’s between frames where cinema speaks”
are recognitions of the movement being a perceptual construct, invented by
the audience from how similar/different any pair of frames are. This
conception puts those filmmakers who engage with cinema-as-animation in a
different place than those who construct their cinema from shots produced
as records of live action. One approach is considerably more plastic and
atomistic than the use of the shot as a basis. It is also an approach that
seems to emerge rarely outside of filmmakers who work with animated
processes—and this includes the "cartoon" animators of Hollywood. Iwerks
and Fleischer both did very radical things with single frame animations, as
did Jones (look at Daffy Duck breaking his guitar in *Duck Amuck*
frame-by-frame and you can see how Jones' "superfast motion" in that bit is
actually radically truncated and overlapped frames rather than traditional
animation).

These approaches are commonplace now, but historically it's an issue of
engagement with individual frames that makes the difference—something that
has become much easier and cost-effective with digital movies and their
extensive use of CG and VFX than it was in celluloid.

Michael Betancourt
Savannah, GA USA

michaelbetancourt.com | vimeo.com/cinegraphic


On Mon, Aug 17, 2020 at 2:41 PM Bernard Roddy https://mailman-mail5.webfaction.com/listinfo/frameworks>> wrote:

>* Eric Thiese is prepared to read about cartoons. That wasn't what attracted
*>* me to animation. Although I enjoyed 

Re: [Frameworks] animation

[Michael Betancourt]

The question of "cartoons vs animation" is, in my opinion, a red herring.
It's more about the conception of motion pictures as being produced either
in 'the shot' or in the differential between different frames.

Deleuze, much like Bazin and Cavell (as well as Eisenstein), is at a basic
level concerned with the shot and its depicted contents, generally produced
via live action production. The extension of his proposals, such as the
movement-image, to animation becomes rapidly problematic, esp. when
considered in relation to purely artificial constructions of movement in
animated and avant-garde works. He makes the restriction of his comments
clear in the notes he gives at the very start of *Cinema 1.*

Both McLaren and Kubelka arrived at differences between individual frames,
articulated over time. McLaren's proposal of "what happens between frames"
just like Kubelka's comment that “it’s between frames where cinema speaks”
are recognitions of the movement being a perceptual construct, invented by
the audience from how similar/different any pair of frames are. This
conception puts those filmmakers who engage with cinema-as-animation in a
different place than those who construct their cinema from shots produced
as records of live action. One approach is considerably more plastic and
atomistic than the use of the shot as a basis. It is also an approach that
seems to emerge rarely outside of filmmakers who work with animated
processes—and this includes the "cartoon" animators of Hollywood. Iwerks
and Fleischer both did very radical things with single frame animations, as
did Jones (look at Daffy Duck breaking his guitar in *Duck Amuck*
frame-by-frame and you can see how Jones' "superfast motion" in that bit is
actually radically truncated and overlapped frames rather than traditional
animation).

These approaches are commonplace now, but historically it's an issue of
engagement with individual frames that makes the difference—something that
has become much easier and cost-effective with digital movies and their
extensive use of CG and VFX than it was in celluloid.

Michael Betancourt
Savannah, GA USA


michaelbetancourt.com | vimeo.com/cinegraphic


On Mon, Aug 17, 2020 at 2:41 PM Bernard Roddy  wrote:

> Eric Thiese is prepared to read about cartoons. That wasn't what attracted
> me to animation. Although I enjoyed making line drawings in order to shoot
> them in series, of exploring timing tests, and of implementing cut-out as a
> visual means of theoriing about other things, it was Fischinger and McLaren
> (and the '70s text entitled Experimental Animation by Cecile Starr and
> Robert Russet) that raised the possibility of discovering something other
> than cartoons to call animation - something that could be sustained in
> dialogue with an "avant-garde" history (Man Ray, etc.) and take on a
> lab-like quality for "experiment" in film (where the accident of chemical
> reaction also seemed to belong).
>
> When I think about it today, however, I think of "animation" as an
> expression of a conception of time that is contested in Deleuze, who relies
> on Bergson to cast in question this spatialization of time (in the film
> strip, in a series of spatial locations). Film theory (separated from
> digital or video technologies, and thus conceived effectively as "film
> strip" theory, or Bolex-operation theory) is not ignored in Deleuze. In the
> first pages of Cinema 1 there is reference to Muybridge and the analysis of
> human or animal locomotion. But Deleuze joins Bergson in thinking that
> movement is not strung out in space, that it cannot be divided but is whole
> and complete at the point when it occurs.
>
> I have recently found that it is Deleuze who best incorporates both this
> early cinema (which he identifies with an early conception of time) and an
> appreciation of "art house" narrative (that history of cinema we find in
> Godard or Bazin, what is essentially photographic, a question of
> performance, shot, location, edit). A film strip conception of the cinema
> will limit itself to a philosophical question orientation on time that
> leave you without any means for talking about cinema's power (in Antonioni,
> for example).
>
> And then there are the scripts clearly written with introductory
> philosophy text in mind (science fiction of one kind or another), but that
> involve profound compromise at the level of production, where directors
> hold sway, a great deal is taken for granted (and enforced), where markets
> and money decide so much. But if you were never going to be making work
> yourself, if it will be theory or education in some broader sense that you
> will be advancing, then the studio ethos can be sacrificed to reader of
> images and the writer of theory or argument.
>
> So, although the experience of movement has been among the interests in
> "theory," one still faces the relevance of film-strip theory for the
> remaining issues one might one to think about.
>
> Bernie
> 

[Frameworks] animation

[Bernard Roddy]

Eric Thiese is prepared to read about cartoons. That wasn't what attracted
me to animation. Although I enjoyed making line drawings in order to shoot
them in series, of exploring timing tests, and of implementing cut-out as a
visual means of theoriing about other things, it was Fischinger and McLaren
(and the '70s text entitled Experimental Animation by Cecile Starr and
Robert Russet) that raised the possibility of discovering something other
than cartoons to call animation - something that could be sustained in
dialogue with an "avant-garde" history (Man Ray, etc.) and take on a
lab-like quality for "experiment" in film (where the accident of chemical
reaction also seemed to belong).

When I think about it today, however, I think of "animation" as an
expression of a conception of time that is contested in Deleuze, who relies
on Bergson to cast in question this spatialization of time (in the film
strip, in a series of spatial locations). Film theory (separated from
digital or video technologies, and thus conceived effectively as "film
strip" theory, or Bolex-operation theory) is not ignored in Deleuze. In the
first pages of Cinema 1 there is reference to Muybridge and the analysis of
human or animal locomotion. But Deleuze joins Bergson in thinking that
movement is not strung out in space, that it cannot be divided but is whole
and complete at the point when it occurs.

I have recently found that it is Deleuze who best incorporates both this
early cinema (which he identifies with an early conception of time) and an
appreciation of "art house" narrative (that history of cinema we find in
Godard or Bazin, what is essentially photographic, a question of
performance, shot, location, edit). A film strip conception of the cinema
will limit itself to a philosophical question orientation on time that
leave you without any means for talking about cinema's power (in Antonioni,
for example).

And then there are the scripts clearly written with introductory philosophy
text in mind (science fiction of one kind or another), but that involve
profound compromise at the level of production, where directors hold sway,
a great deal is taken for granted (and enforced), where markets and money
decide so much. But if you were never going to be making work yourself, if
it will be theory or education in some broader sense that you will be
advancing, then the studio ethos can be sacrificed to reader of images and
the writer of theory or argument.

So, although the experience of movement has been among the interests in
"theory," one still faces the relevance of film-strip theory for the
remaining issues one might one to think about.

Bernie
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] animation

[Jessica Arseneau]

On Wednesday, August 12, 2020, Bernard Roddy  wrote:

> I'm writing on a phone - tap tap. But I wanted to say that animation has
> always seemed to me to be a poor search term. Tap tap. Let's not give life
> to inanimate objects. The thread was initiated along with a link. And the
> critical writing linked invited applications of the expression electronic
> writing. Tap. Ping.
>


-- 

jessarseneau.github.io
+49 17627787032 <+49%20176%2027787032>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] animation

[Bernard Roddy]

I'm writing on a phone - tap tap. But I wanted to say that animation has
always seemed to me to be a poor search term. Tap tap. Let's not give life
to inanimate objects. The thread was initiated along with a link. And the
critical writing linked invited applications of the expression electronic
writing. Tap. Ping.
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Animation Faculty (3D) + Narrative Faculty - University of Tampa

[Warren Cockerham]

Hi Frameworkers

The University of Tampa's department of Film, Animation, and New Media is
looking to hire 2 tenure-track faculty...

1) Animation faculty specializing in 3D.. but also 2D -- computer based and
camera based animation

https://utampa.wd1.myworkdayjobs.com/en-US/Faculty/job/Tampa/Assistant-Professor-of-Film--Animation-and-New-Media_R0002681



2) Filmmaking faculty specializing in Narrative... some of you can do all
of the above, so please apply.

https://utampa.wd1.myworkdayjobs.com/en-US/Faculty/job/Tampa/Assistant-Professor-of--Film-and-Media-Arts_R0002660



Another cool thing... you can help me with FLEX!!!

thanks all,
Warren
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Animation

[Jaime Cleeland]

https://archive.org/details/WildButterfliesbyJaimeCleeland

Enjoy

Sent from my iPad___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] animation cut out

[jaime cleeland]

you can downloadhttps://archive.org/details/ZombieBangor
Jaime

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] animation job at UC Santa Cruz

[Irene Lusztig]

Dear Frameworks,

UC Santa Cruz is looking for an animator:

UNIVERSITY OF CALIFORNIA, SANTA CRUZ
DEPARTMENT OF FILM AND DIGITAL MEDIA
Assistant Professor in Animation
The Film and Digital Media Department at the University of California, Santa 
Cruz (UCSC) invites Filmmakers and Media Artists to apply for a tenure track 
position in the field of animation, to be appointed at the rank of assistant 
professor. We seek to hire an individual who is making an ongoing contribution 
to the advancement of experimental forms of documentary, narrative, and/or 
media arts and design practices and who will add to the department’s strengths 
in the criticism and the creation of socially engaged fiction and nonfiction 
work. The ideal candidate will demonstrate a broad understanding of the 
scholarly fields of animation studies, critical histories of animation 
(including documentary animation), film and media theory, and visual art 
practices. We have a strong interest in candidates with expertise in bridging 
areas of animation, visual art, interactive media, and gaming technologies. 
Areas of research and teaching might include 2D, 3D CGI, Stop Motion and/or 
digital animation, character animation, immersive interactive installations, 
virtual environments, mobile platforms, and convergences of design, media arts, 
science, and technology.

Please refer to the full job posting at 
http://apo.ucsc.edu/academic_employment/jobs/JPF00039-14.pdf for more 
information and application instructions.

Best,

Irene___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Animation Stand For Sale

[George, Sherman]

The University of California, San Diego is accepting bids for an Acme Model six 
16 mm camera on a S O S animation stand. The minimum bid is $500.
 For pictures and details on bidding go to:
http://surplus.ucsd.edu/Lot.aspx?id=88346
The camera uses double perf film but could be converted to single perf. The 
stand has follow focus and double Acme peg bars, the light box rotates . The 
column is about 10 feet tall and it weighs about 1200 pounds.
I have no monetary interested in the sale but I don't want this to go to the 
scrap yard.
Every thing was working in the Spring when it was removed from service.. 
The university accepts bids on line and in person. Conditions of sale are as 
is, where is. Payment by check or credit card and you have 7 days after the bid 
is accepted to remove the equipment. There is assistance available for loading.
If you have further question contact me off list or at the number below.

Sherman George
sgeo...@ucsd.edu
858-229-4368



___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Animation teaching post at University of Iowa

[jason livingston]

Assistant Professor in AnimationPlease pass this job description to anyone you 
know of who is looking for employment in academia at tenure track status in 
Animation.  We seriously need serious candidates!
The School of Art  Art History invites applications/nominations for a 
tenure-track faculty position in Animation at the Assistant Professor level 
beginning with the 2012-13 academic year. The successful candidate will teach 
undergraduates and graduates in B.A., B.F.A., M.A. and M.F.A programs. Salary 
will be commensurate with experience. This individual will teach within the 
area of Media, Social Practice, and Design (MSPD) in the School of Art  Art 
History. MSPD is home to the disciplines of Photography, Graphic Design, and 
Intermedia. Studying in MSPD provides students the opportunity to develop the 
visual vocabulary, social responsibility, and cross-media literacies required 
by the rapidly changing contemporary world. Required Qualifications:MFA or 
equivalent in Animation or New Media Production, extensive knowledge and 
experience in contemporary animation principles and practices, active 
animation/media art practice, and evidence of commitment to animation as a mode 
of creative expression and experimentation. Desirable qualifications:A 
successful record of university-level teaching is preferred. The candidate will 
be conversant in both 2D and 3D animation techniques and concepts which may 
include body mechanics, modeling, rigging, lighting, motion capture, web-based 
animation, and rendering. Submission:Candidates must submit applications online 
at http://jobs.uiowa.edu/. Do not mail paper applications. Search requisition 
number X. Screening of applications begins November 15th, 2011 and will 
continue until the position is filled. Candidates should include a letter of 
application, a complete CV, statements describing their creative practice and 
teaching philosophy and the names, email and addresses of three references. The 
School of Art  Art History and the College of Liberal Arts  Sciences are 
strongly committed to gender and ethnic diversity; the strategic plans of the 
University, College and School reflect this commitment. The University of Iowa 
is an Affirmative Action/Equal Opportunity Employer. Women and minorities are 
encouraged to apply. Special Materials:Please provide video reel (CD, DVD, or 
website), examples of student work (CD, DVD, or website), and a self-addressed 
stamped envelope for return of digital record to: Animation Search CommitteeThe 
University of IowaSchool of Art and Art History1375 Hwy 1 West  
   Iowa City, IA 52242   ___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks