In this article, the author proposes that both substance and process philosophy inadequately addr... more In this article, the author proposes that both substance and process philosophy inadequately address the ‘plasmatic’ and metamorphic movement (PMM) of early animation since it subverts the logic of the ‘cinematographic illusion’. Cognition, which is apparently dependent on identity formation, is predicated on substance, which conforms to representational thought. PMM, which is predicated on the ‘fluid’ linkage of images, destabilizes substance, consequently problematizing representation by introducing conflict between speculative substance predicated on form and perceived materiality from movement. A different problem appears with process philosophy privileging continuing flux that cannot logically be based on identity formation as it resists predication. Yet, cognition is possible as process is speculative and substance is manifest. PMM, as a manifest process that dematerializes substance, ungrounds the basis of both philosophies, simultaneously highlighting their complementarity. ...
IIM Kozhikode Society & Management Review January 2014 3: 81-91, doi:10.1177/2277975214529142 , Jan 2014
The early animated image under industrial production was intrinsically antirealist in nature and ... more The early animated image under industrial production was intrinsically antirealist in nature and was informed by the dialectics of class conflict. It was the result of the exploited labouring body working alongside the repressed erotogenic body within the industrial process of cinema animation. This was done under the logic of just exchange and wage labour. The dialectics of class conflicts manifests in early animation as the dialectics of morphing in the freedom of creative expression of the subject. Morphing not only talks of ideological freedom but also acts as the harbinger of counter-ideologies by destabilizing the animated image, literally and figuratively; thus creating the revolting animator and the curious spectator. Hence, the morph becomes a threat to property structure, acts beyond the logic of private interest of capital, resulting in the creation of the uncanny. Nevertheless, capital preempts morphing in animation by bringing it within the logic of capital, by rationalizing it. Capital in the form of technological advancements, being unable to push further into the classical two-dimensional process, took a leap towards the digital processes that changed the relations of production. This alienation was made absolute as the virtual space literally removed the animator from the tactile processes of hand drawn or stop motion techniques. The digital process came to the rescue of capital by gradually removing morphs from the animated image thereby altering the culture of animation in cinema.
In this article, the author proposes that both substance and process philosophy inadequately addr... more In this article, the author proposes that both substance and process philosophy inadequately address the ‘plasmatic’ and metamorphic movement (PMM) of early animation since it subverts the logic of the ‘cinematographic illusion’. Cognition, which is apparently dependent on identity formation, is predicated on substance, which conforms to representational thought. PMM, which is predicated on the ‘fluid’ linkage of images, destabilizes substance, consequently problematizing representation by introducing conflict between speculative substance predicated on form and perceived materiality from movement. A different problem appears with process philosophy privileging continuing flux that cannot logically be based on identity formation as it resists predication. Yet, cognition is possible as process is speculative and substance is manifest. PMM, as a manifest process that dematerializes substance, ungrounds the basis of both philosophies, simultaneously highlighting their complementarity. ...
IIM Kozhikode Society & Management Review January 2014 3: 81-91, doi:10.1177/2277975214529142 , Jan 2014
The early animated image under industrial production was intrinsically antirealist in nature and ... more The early animated image under industrial production was intrinsically antirealist in nature and was informed by the dialectics of class conflict. It was the result of the exploited labouring body working alongside the repressed erotogenic body within the industrial process of cinema animation. This was done under the logic of just exchange and wage labour. The dialectics of class conflicts manifests in early animation as the dialectics of morphing in the freedom of creative expression of the subject. Morphing not only talks of ideological freedom but also acts as the harbinger of counter-ideologies by destabilizing the animated image, literally and figuratively; thus creating the revolting animator and the curious spectator. Hence, the morph becomes a threat to property structure, acts beyond the logic of private interest of capital, resulting in the creation of the uncanny. Nevertheless, capital preempts morphing in animation by bringing it within the logic of capital, by rationalizing it. Capital in the form of technological advancements, being unable to push further into the classical two-dimensional process, took a leap towards the digital processes that changed the relations of production. This alienation was made absolute as the virtual space literally removed the animator from the tactile processes of hand drawn or stop motion techniques. The digital process came to the rescue of capital by gradually removing morphs from the animated image thereby altering the culture of animation in cinema.
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