Animating interaction

Manning, Paul; Gershon, Ilana

doi:10.14318/hau3.3.006

Cited by 48 publications

(30 citation statements)

References 4 publications

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“…Silvio thus highlights the hybrid nature of the animated figure, whose existence is both enabled by others and in excess of them. In her discussion of cosplay (Silvio ), she suggests that it is not solely the cosplayer who is animating the character but also the character who is animating the cosplayer (see also Manning and Gershon ; Manning ).…”

Section: Animationmentioning

confidence: 99%

“…Silvio describes this phenomenon among Taiwanese cosplayers who are animated by puppet characters from the television series Pili . As Paul Manning and Ilana Gershon (, 117) note, “the [cosplayer's] body can be activated when surrounded by the right combination of media,” including the recording device of the camera, the recorded text of a Pili skit, and the adorned body of the cosplayer. Just as the costumed cosplayers’ bodies are insufficient to channel the characters that animate them, the objects that participate in Erin's mom sightings contain only the possibility of being animated.…”

Section: Intimate Mediationsmentioning

confidence: 99%

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Animating Relations: Digitally Mediated Intimacies between the Living and the Dead

Hales

2019

Cult. Anthropol.

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Recent theorizations of animation offer intriguing possibilities for recognizing and attending to the sociality of a range of entities, including the dead. Today, diverse digital media are being used to maintain and even deepen intimate relationships with deceased loved ones. These media bring the dead to presence through forms of animation, understood not only in the narrow technical sense as a media genre but more broadly as a mode of mediation that vivifies in particular ways. This mode of mediation is iterative, bringing forth the multiplicity of the dead. Their materializations are partial and fragmentary, cohering around a database of elements rather than a cohesive, narrative identity. They are sparsely outlined, evoked rather than depicted. When the dead are animated by digital media, they invite their loved ones to fill them, expanding into many versions to which shifting attachments can form. Those who answer their call extend their ambivalent hospitality, maintaining mutually constitutive relationships through which both the living and the dead are carried forth.

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Section: Animationmentioning

confidence: 99%

Section: Intimate Mediationsmentioning

confidence: 99%

Animating Relations: Digitally Mediated Intimacies between the Living and the Dead

Hales

2019

Cult. Anthropol.

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“…), and (sometimes) the figure (a role which we argue usually complements the animator, namely the character animated by the animator). (Gershon and Manning 2014, 543) The last two paired roles-in which Goffman's technomorphic animator as "talking machine " (1981) is analytically resolved into a (human) animator and (nonhuman) animated "figure" or "character" (Goffman 1974, 522;Nozawa 2013)concern me most here (see also Manning and Gershon 2013;Gershon and Manning 2014). The s eance involves a distributed agency typical of paradigms of "animation" as opposed to "performance" (Silvio 2010), involving a physical gap between animator and animated figure constituted by "materialization" of spirit bodies separate from the medium and acting always at a distance (Goffman 1974, 522).…”

Section: Animating Spiritsmentioning

confidence: 99%

Spiritualist Signal and Theosophical Noise

Manning

2018

J Linguistic Anthropol

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Recent media studies research on 19th‐century Spiritualism has foregrounded the technological metaphors that suffuse Spiritualist models of the séance. However, this article shows that the actual phatic channels proposed by Spiritualism consisted almost entirely of mediating chains of human spirits who stood between the bereaved séance guests and the spirits of the dear departed called “strangers.” While the “strangers” were, like the séance guests, departed white people, the authoritative “control spirits” were frequently exotic others such as “Indians” from the American imaginary of the Frontier. Beginning in 1875, the apparent transparency of the Spiritualist séance became the object of critique of an emerging occultist movement of Theosophy, which sought to undermine the authoritative human spirits of Spiritualism by turning the human spirits of the Spiritualist séance wholesale into disruptive non‐human mediators called “Diakkas,” “Bhuts,” and “Elementals,” and replacing Spiritualism's authoritative “Indian” control spirits drawn from the imaginary of the American frontier with Tibetan “Mahatmas” drawn from the orientalist imaginary of the Empire. These elementals initially represented noisy non‐human “parasites” of Spiritualist channels, but later these parasites take over the channel and become the channel themselves in the form of what came to be called the “elemental essence.”

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“…As Boellstorff shows, it can be very difficult for scholars of digital culture to prevent these pervasive ideological associations from creeping into their analyses. In addition to the salutary habeological approach he advocates, Manning and Gershon (2013), who similarly draw inspiration from the ontological turn, suggest using the trope of animation to break down real/virtual binaries. Building on a multimodal view of human interaction (Keating 2005), linguistic anthropologists have focused on the way that people coordinate the use of different channels, simultaneously and sequentially, to accomplish communicative practices that they may construe as more or less real, regardless of whether those channels are proximate or mediate, analog or digital (Jones 2014).…”

Section: Graham M Jonesmentioning

confidence: 99%

“…Work like that of Manning and Gershon (2013) on animation can contribute to analyses of the digital/real relation consonant with a habeological approach, particularly with reference to the possession and enactment of embodiments that are always emplacements as well.…”

Section: Replymentioning

confidence: 99%