Alex Jukes Thesis JUne 2017

216 Pages·2017·24.69 MB·English

3-D Computer Generated Animation and the Material Plane – An
Investigation of The Material Qualities of 3-D Computer Generated
Animation and Relations to Space and Form.

Abstract
This research considers the production and presentation of 3-D CGI animation
where the intention is to explore the potential of this mode of practice as
material. Through a practical and theoretical study, this research project outlines
the proposal that within the context of 3-D CGI animation there exists a
property that can be regarded as unique, or deemed as an essential quality,
which in turn can be defined as material.

The research refers directly to work developed by Structural/Materialist
filmmakers and artists working in the 1960s and 1970s whose investigation into
process and materiality acts as a method and potential framework for exploring
approaches and processes within 3-D CGI animation.

The project asks the following questions:
1. Is it possible through a practical exploration to establish distinctiveness
for 3-D CGI animation?
2. Can theoretical research in relation to media studies, film studies,
specifically Structural/Materialist film assist to support and shape
project development?
3. Can the practical work associated with the project and theoretical
undertaking converge to support a basis for determining an individual
characteristic for 3-D CGI animation?

Hypothesis
My hypothesis in relation to the expected findings and outcomes for the project
can be distilled to form two strands:
1. That 3-D CGI is definable as a unique mode of production and can be
classified as distinct from other digital modes of image production.

That the result of the research will point towards a conceptualisation for 3-D
CGI where as a process it has the capacity and the influence to be considered as
a unique, discreet mode of production. That the qualities and the self-styled
artefacts that emerge from the digital mass can be determined as definable
products linked to a specific process.
3-D Computer Generated Animation and
the Material Plane – An Investigation of the
Material Qualities of 3-D Computer
Generated Animation in Relation to Space
and Form

ALEXANDER P. JUKES

A thesis submitted in partial fulfilment of
the requirements of the Royal College of
Art for the degree of Doctor of Philosophy

May 2017

Royal College of Art
“This text represents the submission for the degree of Doctor of Philosophy at the Royal
College of Art. This copy has been supplied for the purpose of research for private study, on
the understanding that it is copyright material, and that no quotation from the thesis may be
published without proper acknowledgement”
Acknowledgements

The writing of this thesis represents a major academic and personal challenge. It
has provided an opportunity for me to focus my research and to develop a clear
path for further investigation. The research undertaken to inform this thesis has
steered my practical work and delivered theoretical clarity. From this personal
perspective the essay presented here has been a successful endeavour.

I would like to take this opportunity to thank my Supervisor Joe King for his
support and encouragement over the past few years.

I would also like to express my thanks to Al Rees for his limitless knowledge and
advice relating to this subject area.

Thank you to Joan Ashworth and the rest of the Animation Team at RCA for their
assistance and genuine support.

Thank you to Nicky Hamlyn for his inspiration and patience in assisting me and
steering me through this written work.

And Finally thank you to my wife, Peggy, for her endurance and her graphical
skills without which this document and supporting work would never have been
completed.
Table of Contents

Introduction 2
i. Overview of Aims 4
ii. Project Overview 4

Chapter 1: Aims, Objectives and Context 7

1.1 Outlining Project Aims 7
1.1.1 Possibilities of a New Medium: The Material Nature of 3-D CGI 7
1.1.2 Medium as Immaterial 8
1.1.3 Position of 3-D CGI as a Hybrid Medium 9
1.1.4 Finding a Position for 3-D CGI 11
1.1.5 Hypothesis 13
1.1.6 Comparing 3-D CGI and the Dilemma of Film 13
1.1.7 New or Mature Mediums 15

1.2 Introduction of a Foundational Theory 16
1.2.1 Surrounding Debates 16
1.2.2 The Medium and Material of 3-D CGI Animation 18

1.3 Representation and Reception of Space 19

1.4 Space and Material 23
1.4.1 The Virtual Object – Early CGI Art 23
1.4.2 Presentation of Digital 25
1.4.3 Space and Cultural Psyche 26

1.5 Hypothesis for Space 29

1.6 Conclusion 31
Chapter 2: Specificity of Medium: 3-D CGI and Other Media 34

2.1 Introduction 34

2.2 Definition of the Digital 34
2.2.1 Media Studies 42

2.3 Methodology 44
2.3.1 (1) – Medium Specificity 45
2.3.2 (2) - A Structural/Materialist filmmaking Principles 49
2.3.3 (3) - Theoretical and philosophical Methods for Discussing Space 51
2.3.4 (4) - Practical Investigation and Enquiry 51

2.4 Method 1 – Media comparison 52
2.4.1 Conditions and Preconditions of the Medium 51
2.4.2 A Material Basis in Comparison to Video 55
2.4.3 A Material Basis in Comparison to Film 55
2.4.4 Digital Medium 57

2.5 Process Through Transformation 60

2.6 Experiment 1: Portraits 1 – April 2010 61
2.6.1 Transformation 61
2.6.2 Imitation 62
2.6.3 Method 60
2.6.4 Production 64
2.6.5 Capturing Image 64
2.6.6 Presentation 64
2.6.7 Outcome 65

2.7 Experiment 2: Portraits 2 – August 2010 68
2.7.1 Method 67
2.7.2 Production 67
2.7.3 Capturing Image 67
2.7.4 Presentation 68
2.7.5 Outcome 69

2.8 Conclusions 71
Chapter 3: The Dialect of the Camera 73

3.1 Introduction 73
3.1.1 Structural/Materialist Film and the Camera 75
3.1.2 The Camera: Act of the Camera 76
3.1.3 Arbitrariness 77

3.2 Camera and the Arbitrary ~ Pylons Series 82
3.2.1 Experiment 1: Pylons: Up/Down ~ July 2011 83
3.2.2 Aim 85
3.2.3 Method 85
3.2.4 Outcomes 87

3.3 Experiment 2: Pylons 2 ~ October/November 2011 90
3.3.1 Introduction 90
3.3.2 Aim 91
3.3.3 Method 92
3.3.4 Screens and Cameras 94
3.3.5 Screen 1 ~ Horizontal 94
3.3.6 Screen 2 ~ Vertical 95
3.3.7 Screen 3 ~ Rotation 96
3.3.8 Outcomes 96

3.4 Conclusion 100

Chapter 4: Object and Environment 103

4.1 Introduction: Object, Space and 3D 103
4.1.2 Presentation of Space: Space and Environment 109
4.1.3 Terminology: Internal and External Space 112

4.2 Practical Project ~ Pyramids 116
4.2.1 Pyramids Project Aims 116
4.2.2 Pyramids Objectives: Project Themes 118
4.2.3 Elements of the Project 118
4.2.4 Pyramids: Practical Methodology 119

4.3 Project Conclusions 125
4.3.1 Projection and Description 125
4.3.2 The subject of audience expectation 125
Chapter 5: Space and Material
128
5.1 Introduction 128
5.1.1 Review and Position 122

5.2 Traditions of Space and Perspective 129

5.3 Refiguring Space: Space as Material 132

5.4 Manipulating The Representation of Objective Space 134

5.5 Actual and Imagined Landscapes 138

5.6 Image Space and Real-World Space 141

5.7 Subjective and Objective Spaces 145

5.8 Conclusion 149
5.8.1 Revising the Method 150

Chapter 6: Conclusion: Methods and Mechanisms for discussing space 152
within 3-D CGI

6.1 Introduction: Space and 3-D CGI Animation 152
6.1.1 Conceptualization & Presentation of Space Within 3-D 153
CGI Animation
6.1.2 The Investigation of Space Within 3-D CGI 156
6.1.3 Revising the Method 157
6.1.4 A starting Point for Space 159
6.1.5 Tensions Between Opposing Models 160
6.1.6 CGI and Subjective/Objective Space 161
6.1.7 Heidegger and Space 161

6.2 (1) Defining borders for gathering space, and (2) Emptiness 164
and the void

6.3 (3) The Opposition of the Edge: Enclosing and Excluding Boundaries 168
6.3.1 Dissolution of boundaries and the expansion of spatial borders 169

6.4 Method 172

6.5 Example of Practical Application 173
6.5.1 Thelwall-1 173
6.5.2 Thelwall-2 177
6.5.3 Incorporating Structural/Materialist Film Principles 178
6.5.4 Planes and Voids 181

6.6 Method Summary 183

6.7 Conclusion 185