By Maureen Furniss
Furniss discusses about considering form in abstract animation through structural models how it relates to Mandalas (symmetrical image, in a circular, square, lotus or other geometric forms), musical influences and Pythagoras’ explorations between the relationship of music and spirituality.
As Kandinsky suggested, most people find that an appreciation of abstraction requires the re-alignment of one’s interpretation process. The view of abstract work typically must assume a more intuitive and contemplative approach rather than assessing interactions of representational figures.
Abstract animation does not introduce characters to identify with, furthermore there is no narrative to suggest a particular time or place to the viewer. Thus there is no complete ‘understanding’ of the meaning.
Rather than having a naturalized logic, forward-moving cause-and-effect narrative, it has an aesthetic thematic stasis or cycles.
Furniss writes to challenge and increase in appreciation abstract animation, through examples of techniques that produce them. He also mentions the affects abstract animation can produce in the relation of the right hemisphere of the brain and the interactions and functions of the left and right hemisphere in response to animations.
Bibliography:
Furniss, M. (2007) Art in Motion: Animation Aesthetics. Eastleigh, UK: John Libbey. pp, 249-66. Print.
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