Wells in Relation to Animation Projects

One of the quotes that Wells uses in is essay that I feel relates immensely to our Animation Project, and the 6x1 class a whole, was stated, "my instrument will be the cinematographic film, this true symbol of accumulated movement." We are encouraged in writing classes to always incorporate and evoke a sense of movement within our work, just as Wells and experimental animators have proclaimed, movement is the absolute way to render a universal or ambiguous, yet true expression. It is clear that ultimately by projecting our final animation, we will see the rendered abstractions of our work in motion.

Examples of Orthodox (Universal) and Experimental (Ambiguous) Animation utilizing movement and expression:

Wells is a strong advocator on the idea that "Experimental Animation defines its own form and conditions and uses [its surrounding influences] as its [own] distintive language." I believe it is safe the say that these qualities clearly come out within our 6x1 class. Vast amounts of styles, visions, expressions, interpretations, and experiences have been carried out on our films we have projected (especially the magazine transfer). Lets keep in mind a large regard have solely been practice for the final project we are about to complete and are not even a perceived or heavily thought out expression of abstraction.

Example of Animation Drawn on Film with nearly endless depth:

It is said that Experimental Animation relies on aesthetic opposed to narrative approval. In class we have used basically everything we could put our hands on to further manipulate the film and the way it comes across when projected. Wells and Experimental Animators encourage the idea abstract animation is the purest form of expression where ultimately the indivual subconscious and psyche we take affect and create a poetic, true, influenced and self referential statement.

Cymatics

The idea of cymatics is clearly a topic of great interest and vast explorations. Ever since the creation of the universe, it could be said that cymatics has been at play. The same could be said within the terms of the artistic exploration; musicians, painters, dancers, filmmakers, and artist of all types have in one way or another, self aware or subconsciously, dabbled within the realms of cymatics.

It is identified that cymatics is a way of calculating, understanding, and ultimately mastering the hidden data within nature: sound, smell, vibration. With this, hopes of a brighter future would seem certain for the true potential of the organic flora of nature can be unlocked leaving limitless doors to open in terms of health care, economics, and the environment.

But for the time being, cymatics is a more discovery of art with its ability to visualize sound. It can be said that this is a natural artform of sorts, processing the vibrations and complexities within every movement and action throughout the universe into a coherent pattern. Cymatics can recreate the vivid archetypes of nature from every molecule and atom to every tangible and solid/liquid form in existence.

It is also clear the relation cymatics has with Euclidean theory and thought. In terms of mathematics and certainly artwork, the two are one in the same producing images and formulas that coincide nearly seamlessly. Ultimately cymatics is within everything, creating infinite structures that mold into and represent ideas, expressions, trees, vegetables: the universe.

Euclidean Artwork:

Cymatic Artwork:

With the video below, it is evident the parallels of cymatics and string-theory:

In the three clips below, subtle influence and connection can be made with the notions of cymatics and to the art of cinema. More clearly with the video we were shown class that embodied Jazz notes and visual representation.