Muso Soup

Gascoigne, D

Muso Soup

Gascoigne, D

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Publisher:: Picasso Pictures
Publication Type:: Exhibition
Citation:: Prix Ars Electronica

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Field	Value	Language
dc.contributor.author	Gascoigne, D	en_US
dc.contributor.editor	Melissa Venet	en_US
dc.date	2012-12-07	en_US
dc.identifier.citation	Prix Ars Electronica	en_US
dc.identifier.uri	http://hdl.handle.net/10453/32723
dc.description.abstract	Muso Soup is a short animation film, which combines hand drawing and 3D computer animation. The work represented a significant change of direction in my practice, moving away from traditional hand drawn animation and working with 3D software. Muso Soup premiered at the Bristol Encounters Animation Festival in 2011, nominated in the Best Short Film category, and has subsequently been shown in competition at the Stuttgart Animation Festival 2012, Prix Ars Electronica 2012 in Taiwan and at the Sydney International Animation festival. Muso Soup builds upon more than twenty years of experience as a 2D animation director. The research questions addressed in this project relate to the development of hybrid aesthetics for 3D animation. Computer animation is still a relatively new discipline, starting with John Lasseters The Adventures of Andre and Wally B in 1984. The prescribed look and movement of much computer animation reflects a visual culture in which design has primarily been dictated by the software, and it is this default digital aesthetic that I have sought to challenge with this film. This research contributes to the discussion around developing new aesthetics for computer animation. Muso Soup sits alongside the work of practitioners such as David OReilly, Chris Landreth and Wendy Tilby, artists who are engaged in exploring alternative visual and movement languages for computer animation. Their work shares common themes around challenging the `perfection tendency in digital animation, the search for accidents and mistakes, and the evidence of the hand made mark. This character animation piece has opened up rich new territory for my practice. Insights gained during this process have led to the instigation of a project based PhD, to further research into relationships between drawing and digital practice. This is still relatively new territory for practice based research, as computer animation has tended to displace drawn animation over recent years, and this current investigation aims to bring the energy and singularity of drawing back to the heart of animation.	en_US
dc.format	Short Film Animation	en_US
dc.publisher	Picasso Pictures	en_US
dc.relation.ispartof	Prix Ars Electronica	en_US
dc.title	Muso Soup	en_US
dc.type	Exhibition
utslib.location	Taiwan	en_US
utslib.for	1203 Design Practice and Management	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	open_access
pubs.place-of-publication	Taiwan	en_US
pubs.start-date	2012-12-07	en_US
pubs.rights-statement	Muso Soup is a character animation piece, an absurd take on the vitriolic world of online arguments and pseudo intellectualism. The film explores the phenomenon of the online persona, as two music lovers with opposing tastes become embroiled in an escalating dispute about the supremacy of their myopic views. It investigates 3D animation, also known as CGI (computer-generated imagery). CGI animation is typified by monotonous conformity in movement and visual language. For example, a character can be created that maintains a consistent volume, rather than being continually redrawn. A great advantage however of analogue drawing is that the proportions of a character can be altered and distorted in a way that cannot be achieved through digital effects. Through investigation I found that it was feasible to create a hybrid aesthetic that avoided a software-led look. Muso Soup demonstrates a distinctive new aesthetic, combining both digital and analogue techniques. Muso Soup premiered at the Bristol Encounters Animation Festival in 2011, nominated in the Best Short Film category, and has subsequently been shown in competition at the Stuttgart Animation Festival 2012, Prix Ars Electronica 2012 in Taiwan and at the Sydney International Animation festival.	en_US

Abstract:

Muso Soup is a short animation film, which combines hand drawing and 3D computer animation. The work represented a significant change of direction in my practice, moving away from traditional hand drawn animation and working with 3D software. Muso Soup premiered at the Bristol Encounters Animation Festival in 2011, nominated in the Best Short Film category, and has subsequently been shown in competition at the Stuttgart Animation Festival 2012, Prix Ars Electronica 2012 in Taiwan and at the Sydney International Animation festival. Muso Soup builds upon more than twenty years of experience as a 2D animation director. The research questions addressed in this project relate to the development of hybrid aesthetics for 3D animation. Computer animation is still a relatively new discipline, starting with John Lasseters The Adventures of Andre and Wally B in 1984. The prescribed look and movement of much computer animation reflects a visual culture in which design has primarily been dictated by the software, and it is this default digital aesthetic that I have sought to challenge with this film. This research contributes to the discussion around developing new aesthetics for computer animation. Muso Soup sits alongside the work of practitioners such as David OReilly, Chris Landreth and Wendy Tilby, artists who are engaged in exploring alternative visual and movement languages for computer animation. Their work shares common themes around challenging the `perfection tendency in digital animation, the search for accidents and mistakes, and the evidence of the hand made mark. This character animation piece has opened up rich new territory for my practice. Insights gained during this process have led to the instigation of a project based PhD, to further research into relationships between drawing and digital practice. This is still relatively new territory for practice based research, as computer animation has tended to displace drawn animation over recent years, and this current investigation aims to bring the energy and singularity of drawing back to the heart of animation.

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http://hdl.handle.net/10453/32723