Cognitive Animation Theory: A Process-Based Reading of Animation and Human Cognition

Abstract

This article considers both animation and human cognition in terms of process philosophy, and articulates some common ground between the processes of animation and the processes of human cognitive imagery. In doing so it suggests a new cognitive theory of animation – one that differs dramatically from the bulk of the literature surrounding cognitive film theories, which tend to focus only on the viewer’s cognitive response to the completed film. Instead this theory will address a number of process philosophy-based ideas that, together with a discussion of the use of cognitive imagery, can position animation quite apart from other mediums. Firstly, the author suggests that movement and image should be considered as distinct entities both in the animated form and in human cognition. Next, he suggests that animation and cognitive imagery are often made up of numerous layers signaling a unique set of processes and facilitating greater creative and epistemic potential. And finally the article considers the influence of sound as well as the comparative uses of metamorphosis.

From Analog to Virtual: Visual Stylizations of Humanoid Characters Across Media

“…Animation offers "an extraordinary variety of styles, and within each, increasing degrees of realism" [19]. Conversely, live-action video or cinema "cannot record motion independently; it can only provide us with a movement-image, in which movement and image are bound together" [20]. Also, animation can "enhance a cinematic vision through its creation of revealing details and visual discoveries" [21].…”

“…Unlike original live-action films, animation can be seen as unrestrictive and flexible. "Animation is, of course, a pervasive medium and it can be produced using innumerable production techniques" [20]. With multiple ways to create an animation, there is a multitude of visual styles that can be produced.…”

(In)Animate Semiotics: Virtuality and Deleuzian Illusion(s) of Life

“…Most recently, in the context of animation studies, Dan Torre’s writings have made explicit some of the connections between Deleuzian ideas, process-philosophical thinking and the production and consumption of animation. Torre’s work draws attention to the kinetic aspects of process thought – the way in which it presents reality as flux, the way in which it attempts to dispense with nouns whilst prioritizing verbs, and the way in which it depicts the world as a multiplicity of processes that are in some sense nested or layered together (Torre, 2014: 49, 56, 2017: 8, 126, 168, 188, 208). Thus, Torre emphasizes the dynamism and the openness of process philosophy – its distinctive presentation of the kinetic, creative, developmental character of reality – aligning this with the notion of ‘becoming’ that he sees as being foregrounded in the work of Deleuze, and noting the resonance between these ideas and the practice of animation (Torre, 2014: 49–50, 2017: 8–9, 163).…”

“…Despite Deleuze’s somewhat lacklustre engagement with the animated film, a number of latter-day animation theorists have seen significant resonance between animated phenomena and a series of core Deleuzian concerns. In recent years, various attempts have been made – most notably by Schaffer (2006), Lamarre (2009, 2010), Torre (2014, 2015, 2017) and Jenkins (2016) – to construct a series of Deleuzian positions in animation theory. This reappraisal of the significance of Deleuzian thought with respect to the formulation of a theory of animation in many ways mirrors Deleuze’s own re-evaluation of the philosopher Henri Bergson’s relationship to cinema (Deleuze, 2005: 1–3).…”

Animations of Ancient Vase Scenes in the Classics Classroom

“…For results relating to learning technical skills, see Kim et al (2007). For evidence of improved comprehension of image and narrative, see Torre (2014) and Coventry et al (2013). 5 See above note.…”