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By Aylish Wood (auth.)

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It is always a process or a translation. , p. 33) Galloway’s framing of the interface as process rather than thing suggests a way forward for thinking about how someone encounters the double logic of Maya’s UI. 0005  Software, Animation and the Moving Image surface and depth of the software. Users engage with the persuasive logic of both through whole shapes on the viewport and also data packets in dialog boxes. Martyn Gutteridge (an animator at Digimania) describes Maya’s UI in a way that reveals his awareness of the two logics when he compares the virtual projection of a solid object to the nodal organization of the interface: So those are all graphically depicted and it’s like a network, so you have your different icons and they are connected with inputs showing that this is going to this.

Of interest too are the ways software puts those component parts together again, introducing new possibility spaces by generating distinct limits and opportunities with which artists can work. In the case of timing, 3-D animation software is based predominantly on a keyframing method, and various algorithms for creating the in-betweened poses mediate the creative work of animators. Algorithmic operations are one of the locations where users of software fold in with the system as they negotiate with the opportunities of their possibility space.

0005  Software, Animation and the Moving Image about Hummingbird are suggestive of a formal dis-integration of the multiple elements of the algorithmic bird, visualization increasingly sought to integrate the digitally created elements into imagery that more directly mapped onto physical reality. Accordingly, the aesthetic possibilities offered by 3-D computer animation have tended to be dominated by work approaching the simulation of human movements, photoreal textures and animations that developed into the character-based traditions now exemplified by Pixar’s output.

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