The component parts included here—four animated GIFs and an SWF—are not to be understood as independent works, but are to be combined in a browser to produce Ana Maria Uribe’s 1997 poem “Angeles en bandana (A Flock of Angels).” The poem arranges fifteen Garamond “T” characters in the form of an upside down triangle and animates them with out-of-sync bevels and inner glows. While this animation loops, so does a short piece of metallic-sounding audio titled “humhum.swf.” This and other Uribe anipoems are online thanks to Vispo. This title was included in Library Stack as part of the collection Open Font ...

Unprecedented kinds of experience, and new modes of life, are now produced by simulations, from the CGI of Hollywood blockbusters to animal cloning to increasingly sophisticated military training software, while animation has become an increasingly powerful pop-cultural form. Today, the extraordinary new practices and radical objects of simulation and animation are transforming our neoliberal-biopolitical “culture of life”. The Animatic Apparatus offers a genealogy for the animatic regime and imagines its alternative futures, countering the conservative-neoliberal notion of life’s sacred inviolability with a new concept and ethics of animatic life.

Art director, illustrator, and concept designer for such titles as “Ghost in the Shell”, “Captain Marvel” and “Assassin’s Creed” Ash Thorp develops a storyline through his work process, dwells on his favourite tools for animation and 3D-renderings, shares tips on self-organisation and destroys the myth of creative block. Books Ash mentions: “Mastery” by Robert Green, “Eat That Frog” by Brian Tracy, “The War of Art” by Steven Pressfield, “Damn Good Advice” by George Lois, “Manage Your Day to Day” by 99U. The lecture took place at Strelka in 2019 as part of “In Other Worlds” annual event series. To watch the ...

Rick and Morty director and storyboard artist Douglas Olsen talks about creating scenes, cinematic storytelling, and strong draftsmanship.

Three presentations from the 2015 event explore the historical and contemporary relationship between choreography, technology, control, and subjectivation.

In Between is a typeface created from video animations of a stroke font’s letters. These videos capture the letters of the English alphabet transforming into each other in a consecutive manner. Each form of the In Between typeface is taken from the exact middle point of this translation between consecutive letters. In Between asks several questions: Although it is classified as a typeface, if the glyphs are pending letters, would this not disqualify In Between as a typeface? Are these letters readable? If so, how do they sound like? Or, are they pure silence? How would one even type these ...

An abstract illustration that represents different phases of depression, seeking to make the invisible visible. The word “depression” is not mentioned in the book. Therefore, the reader must find her own interpretation of the different feelings and emotions of the disease while diving into the illustrations. The aesthetic approach is consciously simple and minimalist. The techniques used are hand drawing, computer drawing, and 3D-modeling.

Larissa Pham is a writer and artist. She writes and animates poems through her project Poem Club.

This week we’re visiting with artist Meriem Bennani – by popular demand! Meriem has been one of the most requested guests, and is a personal favorite, so we simply had to have her on the show. Meriem effortlessly weaves cartoonish slapstick humor into her videos and animations, even when she is taking on dead serious topics. Her work is accessible and inviting, and her work is equally at home on social media platforms as it is in major museum collections. In recent years Meriem’s work has grown in scale, developing into quite complex and ambitious site-specific installations. Tune in to ...

“Today, if you wanted to pioneer a New World, where would you go?” An artist and entrepreneur envisions a world after the pandemic in which citizenship is untethered from borders, and networks replace nations. A fairy tale and a series of video polemics.

One of the greatest capacities of the medium of animation is its magic—the apparent bringing-to-life of a world of static objects, uncertain companions, and unruly agencies. Things move, they do, they feel the propulsion of awakened urgencies. This “magic,” in fact a technology of representation which cascades still images in order to undo the perceived stillness of the image, also illuminates a fundamental relationship between people and things. Animation activates non-human agency as observed by a spectator, a participant, a co-performer recognizing the coming-to-life of an object, an animal, a photographic or digital entity. It opens space for the sentience and ...

README.first is a bilingual collection of mini-essays, published in the run up to the Plokta film festival. We’ve asked writers, researchers, theorists, artists, programmers, and others to pick an online video that functions as a stepping stone for their thought and practice and to comment shortly on why they find the video so significant, funny, or outright disturbing. The resulting reflections speak about Silicon Valley obsessions, our mediated social lives, the impact of technology on centuries old games, and more.