EIGTBOK Everything is going to be OK
- Submitting institution
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Norwich University of the Arts
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- NUA-JD-01
- Type
- Q - Digital or visual media
- Publisher
- -
- Month
- -
- Year
- 2020
- URL
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https://nua.repository.guildhe.ac.uk/id/eprint/17336
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
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B - Human Interfaces
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- EIGTBOK Everything is going to be OK is a meditation on the endless struggle between positive and negative forces. It developed in part as a response to Covid-19 lockdown restrictions, unease on a global level (climate crisis, political polarisation) and on a local level (including concern for those with mental health issues). It is informed by the Japanese principles and aesthetics of ‘wabisabi’, particularly the appreciation of beauty as imperfect and impermanent, as well as the ability to relinquish control. This was a key part of the creative process in working collaboratively with the sound designer and technically with the 3D software.
The research explored two areas. How to develop a technique which allows for expressive, responsive and playful animation with CGI, which is notoriously rigorous and time consuming? How far could Dunleavy concede control of the structure and character elements of the animation in a collaboration with the composer/sound designer, Phil Archer?
Dunleavy’s ideas were translated into a visual script and storyboard, with designs for characters and environment, and representations of audio-visual energy. This was interpreted by Archer in an audio composition. The audio file was then imported into the 3D software (Maya), analysed and used to define coordinates of scale, position and rotation. Dunleavy controlled the camera and plotted the main action of the character, but form, size and exact location of elements, such as background models and parts of the characters, were determined by the software interpreting the
audio file.
The initial idea of the struggle was informed by Matthew Walker’s ‘Why we Sleep (2017)’, including the notion that dreamscapes are locations for exorcising anxieties. The visual and editing styles were influenced by the work of David Lynch, Jeron Braxton and Max Hatler.
The work was exhibited at two international animation festivals in November 2020
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
