{"id":7874,"date":"2024-03-10T21:36:00","date_gmt":"2024-03-10T21:36:00","guid":{"rendered":"https:\/\/williamcromar.com\/newmediawiki\/?p=7874"},"modified":"2024-03-10T21:36:06","modified_gmt":"2024-03-10T21:36:06","slug":"chapter-17-metaphors-to-performance","status":"publish","type":"post","link":"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/","title":{"rendered":"CHAPTER 17 | Metaphors to Performance"},"content":{"rendered":"\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title\" style=\"cursor:inherit\">Contents<\/div>\n<label for=\"ez-toc-cssicon-toggle-item-69f0cdb29b0b6\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"ez-toc-cssicon\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-69f0cdb29b0b6\"  aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Puppets\" >Puppets<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Human_controllers\" >Human controllers<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Digital_controllers\" >Digital controllers<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Joint_with_IK_handle\" >Joint with IK handle<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Deformer\" >Deformer<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Blend_shape\" >Blend shape<\/a><\/li><\/ul><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Other_art_machines\" >Other art machines<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Cirque_Calder\" >Cirque Calder<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Dada_and_its_offspring\" >Dada and its offspring<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Performance_Art\" >Performance Art<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Art_with_the_body\" >Art with the body<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Singing_sculpture\" >Singing sculpture<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#The_most_dangerous_shows_on_Earth\" >The most dangerous shows on Earth<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Virtual_performance\" >Virtual performance<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Figure_reconfigured\" >Figure reconfigured<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#The_figurative_counter-revolution\" >The figurative counter-revolution<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Study_of_the_figure\" >Study of the figure<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Proportion_and_deformation\" >Proportion and deformation<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Abstraction_and_expression\" >Abstraction and expression<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Entities_animation_and_CGI\" >Entities, animation, and CGI<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-21\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#The_Works\" >The Works<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-22\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Progenitors_of_Pixar\" >Progenitors of Pixar<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-23\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Content_is_the_driver\" >Content is the driver<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-24\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#The_rise_of_Maya\" >The rise of Maya<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-25\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Proprietary_and_open-source\" >Proprietary and open-source<\/a><ul class='ez-toc-list-level-4' ><li class='ez-toc-heading-level-4'><a class=\"ez-toc-link ez-toc-heading-26\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Blender_vs_Maya\" >Blender vs Maya<\/a><\/li><\/ul><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-27\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/#Principles_of_Animation\" >Principles of Animation<\/a><\/li><\/ul><\/nav><\/div>\n\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-text-align-right has-small-font-size\"><em>16-minute read<\/em><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"694\" height=\"694\" data-attachment-id=\"30\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/nmw\/paralleluniverses_01\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png\" data-orig-size=\"694,694\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"parallelUniverses_01\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png\" src=\"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1\" alt=\"\" class=\"wp-image-30\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png 694w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-300x300.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-150x150.png 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-100x100.png 100w\" sizes=\"auto, (max-width: 694px) 100vw, 694px\" \/><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Puppets\"><\/span>Puppets<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"460\" data-attachment-id=\"7893\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/wayang_pandawa_5388574334_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wayang_pandawa_5388574334_o.jpg\" data-orig-size=\"1972,885\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;3.1&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;EX-Z110&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1173875905&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;6.3&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0.0125&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"wayang_pandawa_5388574334_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wayang_pandawa_5388574334_o-1024x460.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wayang_pandawa_5388574334_o-1024x460.jpg\" alt=\"\" class=\"wp-image-7893\" style=\"width:840px;height:auto\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wayang_pandawa_5388574334_o-1024x460.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wayang_pandawa_5388574334_o-300x135.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wayang_pandawa_5388574334_o-768x345.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wayang_pandawa_5388574334_o-1536x689.jpg 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wayang_pandawa_5388574334_o.jpg 1972w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Wayang\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Wayang Kulit<\/strong><\/a>, traditional Indonesian shadow puppets<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>The movements of animals may be compared with those of automatic puppets, which are set going on the occasion of a tiny movement; the levers are released, and strike the twisted strings against one another; or with the toy wagon. For the child mounts on it and moves it straight forward, and then again it is moved in a circle&#8230;. Animals have parts of a similar kind, their organs, the sinewy tendons to wit and the bones; the bones are like the wooden levers in the automaton, and the iron; the tendons are like the strings, for when these are tightened or leased movement begins. However, in the automata and the toy wagon there is no change of quality&#8230;. In an animal the same part has the power of becoming now larger and now smaller, and changing its form, as the parts increase by warmth and again contract by cold and change their quality. This change of quality is caused by imaginations and sensations and by ideas.<\/em><\/p>\n<cite>\u2014 Aristotle,\u00a0<em>On the Motion of Animals<\/em>, 7, 350 BCE. <sup><a href=\"#footnote_1_7874\" id=\"identifier_1_7874\" class=\"footnote-link footnote-identifier-link\" title=\"Aristotle, trans. Farquharson, A. S. L. &quot;On the Motion of Animals.&quot; eBooks@Adelaide | University of Adelaide. 2007. Web. 26 Jan 2011.&nbsp;http:\/\/ebooks.adelaide.edu.au\/a\/aristotle\/motion\/\">1<\/a><\/sup><\/cite><\/blockquote>\n\n\n\n<p>From Aristotle&#8217;s writings, we gather that <a href=\"http:\/\/en.wikipedia.org\/wiki\/Puppetry\" target=\"_blank\" rel=\"noreferrer noopener\">puppetry<\/a> is an ancient enterprise. Some scholars suggest it is even older than theater based on human actors, originating around 30,000 BCE. It therefore boasts a lineage at least as old as cave paintings and petroglyphs. Fast forward to today, and we&#8217;ll see clear a metaphorical extension of puppetry in the 3D arena. Pixar even called its in-house software <strong>Marionette<\/strong> before it became <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Presto_(animation_software)\" target=\"_blank\" rel=\"noreferrer noopener\">Presto<\/a><\/strong>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Human_controllers\"><\/span>Human controllers<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>The goal of puppetry is to create an entity that occupies another reality than that of the puppeteer. Most strategies involve a calculated deception of the audience. The puppeteer attempts to remain unnoticed, if not hidden. Some of the oldest expressions of the form include shadow casting, in the case of Javanese <strong><em>Wayang Kulit<\/em><\/strong> shows. Others include the black clothing of traditional Japanese <strong><em>bunraku<\/em><\/strong>. <\/p>\n\n\n\n<p>The manipulation of the intricate <em>Wayang Kulit<\/em> shadow puppets occurs from below, with puppeteers moving entities using simple sticks. The contrast in form between the complex figure and the simple controller is enough for us to &#8220;forget&#8221; the controller. A different contrast occurs between the brightly colored and patterned surfaces of <em>bunraku<\/em> puppets and the featureless, saturated black of the puppeteers.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"773\" height=\"1024\" data-attachment-id=\"7899\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/oyako_bunraku_5389419801_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/oyako_bunraku_5389419801_o.jpg\" data-orig-size=\"852,1128\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"oyako_bunraku_5389419801_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/oyako_bunraku_5389419801_o-773x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/oyako_bunraku_5389419801_o-773x1024.jpg\" alt=\"\" class=\"wp-image-7899\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/oyako_bunraku_5389419801_o-773x1024.jpg 773w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/oyako_bunraku_5389419801_o-227x300.jpg 227w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/oyako_bunraku_5389419801_o-768x1017.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/oyako_bunraku_5389419801_o-300x397.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/oyako_bunraku_5389419801_o.jpg 852w\" sizes=\"auto, (max-width: 773px) 100vw, 773px\" \/><figcaption class=\"wp-element-caption\"><em> Traditional Japanese\u00a0<a href=\"http:\/\/en.wikipedia.org\/wiki\/Bunraku\" target=\"_blank\" rel=\"noreferrer noopener\">bunraku<\/a>\u00a0performance. The puppets sometimes require multiple puppeteers, who dress in the black &#8220;camouflage&#8221; seen behind the colorful figures.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"832\" height=\"554\" data-attachment-id=\"7904\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/35178touractivitylarge_large\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/35178touractivitylarge_large.jpg\" data-orig-size=\"832,554\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"35178touractivitylarge_large\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/35178touractivitylarge_large.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/35178touractivitylarge_large.jpg\" alt=\"\" class=\"wp-image-7904\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/35178touractivitylarge_large.jpg 832w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/35178touractivitylarge_large-300x200.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/35178touractivitylarge_large-768x511.jpg 768w\" sizes=\"auto, (max-width: 832px) 100vw, 832px\" \/><figcaption class=\"wp-element-caption\"><em>Marionette performance by the\u00a0<a href=\"http:\/\/www.expats.cz\/prague\/czech\/theatre\/nationalmarionettetheatre\/\" target=\"_blank\" rel=\"noreferrer noopener\">Czech National Marionette Theater<\/a><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>We can certainly draw useful metaphors from those expressions. But Pixar pegged it: the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Marionette\" target=\"_blank\" rel=\"noreferrer noopener\">marionette<\/a> uses very complex manipulators of rigid sticks and tensile wires to control the figures from above. Clever multiple-finger triggers allow mouth movement or eye blinking. The puppeteer must develop the skill and dexterity of a musician to effectively control the puppet. <\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"980\" height=\"647\" data-attachment-id=\"7905\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/tv_thunderbirds_still\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/tv_thunderbirds_still.jpg\" data-orig-size=\"980,647\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"tv_thunderbirds_still\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/tv_thunderbirds_still.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/tv_thunderbirds_still.jpg\" alt=\"\" class=\"wp-image-7905\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/tv_thunderbirds_still.jpg 980w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/tv_thunderbirds_still-300x198.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/tv_thunderbirds_still-768x507.jpg 768w\" sizes=\"auto, (max-width: 980px) 100vw, 980px\" \/><figcaption class=\"wp-element-caption\"><em>The marionettes of the\u00a0<a href=\"http:\/\/www.bbc.co.uk\/cult\/anderson\/thunderbirds\/page6.shtml\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Thunderbirds<\/strong><\/a>\u00a0television series<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1400\" height=\"770\" data-attachment-id=\"7907\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/gary-johnston-team-america-world-police-1\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gary-Johnston.Team-America-World-Police-1.webp\" data-orig-size=\"1400,770\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Gary-Johnston.Team-America-World-Police-1\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gary-Johnston.Team-America-World-Police-1-1024x563.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gary-Johnston.Team-America-World-Police-1.webp\" alt=\"\" class=\"wp-image-7907\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gary-Johnston.Team-America-World-Police-1.webp 1400w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gary-Johnston.Team-America-World-Police-1-300x165.webp 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gary-Johnston.Team-America-World-Police-1-1024x563.webp 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Gary-Johnston.Team-America-World-Police-1-768x422.webp 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\" \/><figcaption class=\"wp-element-caption\"><em><a href=\"https:\/\/www.charactour.com\/hub\/characters\/view\/Gary-Johnston.Team-America-World-Police\" target=\"_blank\" rel=\"noreferrer noopener\">Gary Johnston, member of <strong>Team America: World Police<\/strong><\/a><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>British artist Gerry Anderson invented an innovative technique for the cult favorite<em> <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Thunderbirds_(TV_series)\" target=\"_blank\" rel=\"noreferrer noopener\">Thunderbirds<\/a><\/strong><\/em> TV series. He used the slightly unfortunate moniker <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Supermarionation\" target=\"_blank\" rel=\"noreferrer noopener\">Supermarionation<\/a><\/strong> to describe his method. It perfectly synchronizes the movement of a marionette&#8217;s lips with pre-recorded dialogue.<em> <\/em><strong><em>South Park<\/em><\/strong> creators Matt Stone and Trey Parker revived this in 2004 for<em> <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Team_America:_World_Police\" target=\"_blank\" rel=\"noreferrer noopener\">Team America: World Police<\/a><\/strong><\/em>. However, where Anderson tries to repress the visibility of strings, Stone and Parker exaggerate them for satirical effect.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Digital_controllers\"><\/span>Digital controllers<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>In Maya, it&#8217;s unnecessary to worry about strings. The manipulations of the puppeteer exist in the timeline and spatial coordinates. But the principles and complexity are the same. An entity-body contains rigid, &#8220;compressive&#8221; members to maintain form, and fluid, &#8220;tensile&#8221; elements to achieve motion. We create the &#8220;skeleton&#8221; using the <strong>Joint Tool<\/strong>, along with the<strong> IK (Inverse Kinetics) Handle Tool<\/strong> &#8220;tendons.&#8221; These are analogous to the primary movement found in a marionette. <strong>Deformers<\/strong> contribute minor but life-like motion such as eye-blinking function in the same capacity that finger-triggers perform. <strong>Blend Shapes<\/strong> create repetitive motion akin to a crank or pedal.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Joint_with_IK_handle\"><\/span>Joint with IK handle<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/aCEDs8px1Oo?si=izNpxCo9dELjN45J\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/BC6M_O5xcvs?si=OOjwoicA4uEzIBUF\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Deformer\"><\/span>Deformer<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/XznZD1W3f0U?si=vq0EdknK5DUMBTma\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/5iuA1VtYonc?si=o-wHyRFKpTGNN7Ot\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Blend_shape\"><\/span>Blend shape<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/VzisKo9tPe4?si=0FQIiQjGTa5X4YwB\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/zQJEJYqn9Fk?si=gUkJVN9yzKEqTJdj\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div>\n<\/div>\n\n\n\n<p>However, the movements possible with a Maya entity go far beyond what&#8217;s possible with the most complex marionette. Aristotle makes the distinction between puppets and animals as primarily one of &#8220;quality.&#8221; By this, he means the morph-ability of an animal part, &#8220;becoming now larger and now smaller, and changing its form&#8230;&#8221; in response to the environment. The morphing capabilities of an entity in Maya approach the limits of animal motion to a perceptually undetectable degree. But it can also exceed those limits for comic or dramatic effect. Nevertheless, in many ways, the animator has become less of a graphic artist and more of a performer: a puppeteer.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Other_art_machines\"><\/span>Other art machines<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p><em>The machine is a way of establishing your distance from the object.<\/em><\/p>\n\n\n\n<p>\u2014 Marcel Duchamp\u00a0<sup><a href=\"#footnote_2_7874\" id=\"identifier_2_7874\" class=\"footnote-link footnote-identifier-link\" title=\"&quot;CAD Text -Computer Aided Duchamp.&quot; Through the Large Glass: An installation of computer work based on the Art of Marcel Duchamp. 1997.&nbsp;http:\/\/www.p22.com\/projects\/roomd.html\">2<\/a><\/sup><\/p>\n\n\n\n<p>A puppet functions as a kind of art machine, using visual elements and principles in a narrative-driven context. Largely a phenomenon starting in the 20th Century, works of art that use either a machine aesthetic or machine strategy have by now become a mainstay of art practice. <\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Cirque_Calder\"><\/span><em>Cirque Calder<\/em><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Alexander Calder&#8217;s <em><strong>Cirque de Calder<\/strong><\/em> bridges the gap between so-called &#8220;fine art&#8221; sculpture and &#8220;low-brow&#8221; puppet entertainment. In Calder&#8217;s work, there&#8217;s a fine line between the object and the skeleton. He often &#8220;draws&#8221; in space with wire. Under the whimsical veneer of the proceedings, we marvel at Calder&#8217;s mastery of physical equilibrium and the exceptional use of common materials. More episodic than narrative, elements of the <em>Cirque<\/em> became the physics laboratory for a practice that went on to develop what Marcel Duchamp named<strong> mobiles<\/strong>.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/t6jwnu8Izy0?si=y4Tia6fUTlcCvD8A\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Carlos Vilardebo, <strong><a href=\"https:\/\/www.youtube.com\/watch?v=t6jwnu8Izy0&amp;ab_channel=WhitneyMuseumofAmericanArt\" target=\"_blank\" rel=\"noreferrer noopener\">Le Cirque de Calder<\/a><\/strong>, documentary film, 1961<\/em><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"769\" data-attachment-id=\"6220\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-9-expression-form-content-and-narrative\/large_wmaa_hypermobility_07_sm\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/01\/large_WMAA_HYPERMOBILITY_07_SM.jpg\" data-orig-size=\"2048,1537\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;16&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;IQ3 100MP&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1496933115&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;35&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0.8&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"large_WMAA_HYPERMOBILITY_07_SM\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/01\/large_WMAA_HYPERMOBILITY_07_SM-1024x769.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/01\/large_WMAA_HYPERMOBILITY_07_SM-1024x769.jpg\" alt=\"\" class=\"wp-image-6220\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/01\/large_WMAA_HYPERMOBILITY_07_SM-1024x769.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/01\/large_WMAA_HYPERMOBILITY_07_SM-300x225.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/01\/large_WMAA_HYPERMOBILITY_07_SM-768x576.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/01\/large_WMAA_HYPERMOBILITY_07_SM-1536x1153.jpg 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/01\/large_WMAA_HYPERMOBILITY_07_SM.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Mobiles and other kinetic works by Calder at the <a href=\"https:\/\/whitney.org\/exhibitions\/calder-hypermobility\" target=\"_blank\" rel=\"noreferrer noopener\">Whitney Museum<\/a><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Dada_and_its_offspring\"><\/span>Dada and its offspring<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Calder developed the <em>Cirque<\/em> in Paris. At that time the city was filled with avant-garde artists who had toyed with machines, figuratively and literally. Duchamp, as we&#8217;ve seen, was making the transition from mechanical-erotic metaphor embodied by such objects as the <em><strong><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Broyeuse_de_chocolat,_n%C2%B02\" target=\"_blank\" rel=\"noreferrer noopener\">Chocolate Grinder<\/a><\/strong><\/em> to the hardcore mechanical action of the <em><strong><a href=\"https:\/\/hyperallergic.com\/323582\/duchamps-spinning-optical-experiments\/\" target=\"_blank\" rel=\"noreferrer noopener\">Rotoreliefs<\/a><\/strong><\/em>. Man Ray was pushing beyond photography toward the <em><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Object_to_Be_Destroyed\" target=\"_blank\" rel=\"noreferrer noopener\">Object to Be Destroyed<\/a><\/strong><\/em> (a.k.a. <em>Indestructible Object<\/em>). Russian Constructivist Naum Gabo was transforming a line into volume with such works as his <em><strong><a href=\"https:\/\/www.tate.org.uk\/art\/artworks\/gabo-kinetic-construction-standing-wave-t00827\" target=\"_blank\" rel=\"noreferrer noopener\">Standing Wave<\/a><\/strong><\/em>. These mechanical works laid the foundation for the later self-destructing art machines.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"816\" height=\"1026\" data-attachment-id=\"7912\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/duchamp_chocolate_grinder_5399237398_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_chocolate_grinder_5399237398_o.jpg\" data-orig-size=\"816,1026\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"duchamp_chocolate_grinder_5399237398_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_chocolate_grinder_5399237398_o-814x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_chocolate_grinder_5399237398_o.jpg\" alt=\"\" class=\"wp-image-7912\" style=\"width:416px;height:auto\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_chocolate_grinder_5399237398_o.jpg 816w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_chocolate_grinder_5399237398_o-239x300.jpg 239w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_chocolate_grinder_5399237398_o-814x1024.jpg 814w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_chocolate_grinder_5399237398_o-768x966.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/duchamp_chocolate_grinder_5399237398_o-300x377.jpg 300w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\" \/><figcaption class=\"wp-element-caption\"><em><em>Marcel Duchamp<\/em>,\u00a0<a href=\"http:\/\/www.p22.com\/projects\/grinder.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Broyeuse de Chocolat<\/strong><\/a>,\u00a0<em>1914. A study for an entity that later plays a role in The Large Glass. The French phrase &#8220;grinding one&#8217;s own chocolate&#8221; is a euphemism for self-gratification&#8230; a tragicomic condition that is ever-present in Duchamp&#8217;s realm of the Bachelors.<\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"500\" data-attachment-id=\"7913\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/rotorelief\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/rotorelief.gif\" data-orig-size=\"500,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"rotorelief\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/rotorelief.gif\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/rotorelief.gif\" alt=\"\" class=\"wp-image-7913\"\/><figcaption class=\"wp-element-caption\"><em>Marcel Duchamp, example of a <strong>Rotorelief<\/strong>, circa 1935<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"420\" height=\"420\" data-attachment-id=\"17\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/nmw\/manraytrans\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/manraytrans.gif\" data-orig-size=\"420,420\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"manraytrans\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/manraytrans.gif\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/manraytrans.gif\" alt=\"\" class=\"wp-image-17\"\/><figcaption class=\"wp-element-caption\"><em>Man Ray, <strong>Object to be Destroyed<\/strong>, 1923, as re-animated by williamCromar a century later<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"697\" height=\"1024\" data-attachment-id=\"7914\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/kinetic-construction-standing-wave-1919-20-replica-1985-by-naum-gabo-1890-1977\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10.jpg\" data-orig-size=\"1045,1536\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;Kinetic Construction (Standing Wave) 1919-20, replica 1985 Naum Gabo 1890-1977 Presented by the artist through the American Federation of Arts 1966 http:\/\/www.tate.org.uk\/art\/work\/T00827&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;The Work of Naum Gabo (c) Nina \\u0026amp; Graham Williams \/ Tate, London 2023 \/ Photo (c) Tate&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;Kinetic Construction (Standing Wave) 1919-20, replica 1985 by Naum Gabo 1890-1977&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Kinetic Construction (Standing Wave) 1919-20, replica 1985 by Naum Gabo 1890-1977\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Kinetic Construction (Standing Wave) 1919-20, replica 1985 Naum Gabo 1890-1977 Presented by the artist through the American Federation of Arts 1966 http:\/\/www.tate.org.uk\/art\/work\/T00827&lt;\/p&gt;\n\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10-697x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10-697x1024.jpg\" alt=\"\" class=\"wp-image-7914\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10-697x1024.jpg 697w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10-204x300.jpg 204w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10-768x1129.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10-300x441.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/T00827_10.jpg 1045w\" sizes=\"auto, (max-width: 697px) 100vw, 697px\" \/><figcaption class=\"wp-element-caption\"><em>Naum Gabo, <a href=\"http:\/\/www.tate.org.uk\/art\/work\/T00827\"><strong>Kinetic Construction (Standing Wave)<\/strong><\/a>, 1919-20<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p><em><strong>Homage to New York<\/strong><\/em> by Jean Tinguely and the installation documented in <em><strong><a href=\"https:\/\/icarusfilms.com\/if-way\" target=\"_blank\" rel=\"noreferrer noopener\">The Way Things Go<\/a><\/strong><\/em> by Fischli and Weiss are their offspring. <\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"326\" height=\"500\" data-attachment-id=\"5693\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/reanimate\/tinguely2\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2.jpg\" data-orig-size=\"326,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Tinguely2\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2.jpg\" alt=\"\" class=\"wp-image-5693\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2.jpg 326w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2-196x300.jpg 196w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/12\/Tinguely2-300x460.jpg 300w\" sizes=\"auto, (max-width: 326px) 100vw, 326px\" \/><figcaption class=\"wp-element-caption\"><em>Jean Tinguely, <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Homage_to_New_York\" target=\"_blank\" rel=\"noreferrer noopener\">Homage to New York<\/a><\/strong>, 1960<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/GXrRC3pfLnE?si=0672nee07XspTzlJ\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Fischli and Weiss, <strong><a href=\"https:\/\/icarusfilms.com\/if-way\" target=\"_blank\" rel=\"noreferrer noopener\">The Way Things Go<\/a><\/strong>, 1987<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n<p>Such is also the family tree for contemporary art machines like those of Joe Holliday, Martin Creed, and Andrew Huang.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"681\" height=\"1024\" data-attachment-id=\"7919\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/joe_holliday_basil_bisulfate_5390847919_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/joe_holliday_basil_bisulfate_5390847919_o.jpg\" data-orig-size=\"681,1024\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"joe_holliday_basil_bisulfate_5390847919_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/joe_holliday_basil_bisulfate_5390847919_o.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/joe_holliday_basil_bisulfate_5390847919_o.jpg\" alt=\"\" class=\"wp-image-7919\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/joe_holliday_basil_bisulfate_5390847919_o.jpg 681w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/joe_holliday_basil_bisulfate_5390847919_o-200x300.jpg 200w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/joe_holliday_basil_bisulfate_5390847919_o-300x451.jpg 300w\" sizes=\"auto, (max-width: 681px) 100vw, 681px\" \/><figcaption class=\"wp-element-caption\"><em>Joe Holliday,\u00a0<a href=\"http:\/\/www.neatorama.com\/art\/2010\/05\/27\/joe-holliday\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Basil Bisulfate<\/strong><\/a>,\u00a02010. Calder meets Tim Burton in this &#8220;transdimensional golem.&#8221;<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"686\" data-attachment-id=\"7920\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/creed_work_no_189_5399237240_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/creed_work_no_189_5399237240_o.jpg\" data-orig-size=\"1195,800\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"creed_work_no_189_5399237240_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/creed_work_no_189_5399237240_o-1024x686.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/creed_work_no_189_5399237240_o-1024x686.jpg\" alt=\"\" class=\"wp-image-7920\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/creed_work_no_189_5399237240_o-1024x686.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/creed_work_no_189_5399237240_o-300x201.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/creed_work_no_189_5399237240_o-768x514.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/creed_work_no_189_5399237240_o.jpg 1195w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Martin Creed,\u00a0<a href=\"http:\/\/qag.qld.gov.au\/collection\/contemporary_international_art\/martin_creed\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Work No. 189<\/strong><\/a>, 1998. Order and chaos clash in this homage to Man Ray.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/zl6hNj1uOkY?si=1WQY_Lv3stKk3fqv\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Andrew Huang, <strong><a href=\"https:\/\/www.youtube.com\/watch?v=zl6hNj1uOkY&amp;ab_channel=Andrew_Huang\" target=\"_blank\" rel=\"noreferrer noopener\">Doll Face<\/a><\/strong>,\u00a02005<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Performance_Art\"><\/span>Performance Art<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p><em>I want to depict the most romantic idea in the most detached form.<\/em><\/p>\n\n\n\n<p>\u2014Oskar Schlemmer\u00a0<sup><a href=\"#footnote_3_7874\" id=\"identifier_3_7874\" class=\"footnote-link footnote-identifier-link\" title=\"Quoted in Oskar Schlemmer. 2010. Web. 26 Jan 2011.&nbsp;http:\/\/www.schlemmer.org\/\">3<\/a><\/sup><\/p>\n\n\n\n<p>Some uses of puppetry might be considered the intersection between art machines and <strong>Performance Art.<\/strong> A term coined in the 1960s, Performance Art has a lineage that stretches back to Dada poetry readings at the <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Cabaret_Voltaire_(Z%C3%BCrich)\" target=\"_blank\" rel=\"noreferrer noopener\">Cabaret Voltaire<\/a><\/strong>. It also owes a debt to Bauhaus instructor <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Oskar_Schlemmer\" target=\"_blank\" rel=\"noreferrer noopener\">Oskar Schlemmer&#8217;s<\/a><\/strong> theatrical experiments with light, sound, and costume. In particular, he designed the mechanistic costumes of the <em><strong>Triadic Ballet<\/strong><\/em> to make performers feel like puppets. Schlemmer considered the movement of puppets to be superior to human dancers.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/mHQmnumnNgo?si=WZzStgcKj85GDnU_\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Oskar Schlemmer,\u00a0<strong><a href=\"https:\/\/www.youtube.com\/watch?v=mHQmnumnNgo&amp;ab_channel=AitorMerinoMart%C3%ADnez\" target=\"_blank\" rel=\"noreferrer noopener\">Triadic Ballet<\/a><\/strong>, 1922<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Art_with_the_body\"><\/span>Art with the body<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Schlemmer was unable to emigrate along with fellow instructors Josef Albers, Anni Albers, and Walter Gropius to <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Black_Mountain_College\" target=\"_blank\" rel=\"noreferrer noopener\">Black Mountain College<\/a><\/strong> in the wake of the Nazi closure of the Bauhaus. But his spirit of avant-garde performance continued there unabated. Such figures as choreographer <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Happening\" target=\"_blank\" rel=\"noreferrer noopener\">Merce Cunningham<\/a><\/strong> and composer <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/John_Cage\" target=\"_blank\" rel=\"noreferrer noopener\">John Cage<\/a><\/strong> were on the scene. These artists constitute the foundation for the <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Happening\">Happenings<\/a><\/strong> and <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Body_art\" target=\"_blank\" rel=\"noreferrer noopener\">Body Art<\/a><\/strong> performances that started cropping up in the 60s and 70s. <\/p>\n\n\n\n<p>By that time, Performance Art meant something was live, that it was art, and that it was <em><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Performance_art\" target=\"_blank\" rel=\"noreferrer noopener\">not theater<\/a><\/strong><\/em>. The distinction is that it was a kinetic image, episodic and not sequential. It also existed as an artistic critique of the mechanisms of art marketing in a capitalist economy. After all, collectors could not buy or sell it. Thus a performance work subverted galleries, agents, brokers, and auction houses by its very nature.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"691\" height=\"1024\" data-attachment-id=\"7923\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/beuys_how_to_explain_pictures_to_a_dead_hare_5404314993_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beuys_how_to_explain_pictures_to_a_dead_hare_5404314993_o.webp\" data-orig-size=\"1349,2000\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"beuys_how_to_explain_pictures_to_a_dead_hare_5404314993_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beuys_how_to_explain_pictures_to_a_dead_hare_5404314993_o-691x1024.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beuys_how_to_explain_pictures_to_a_dead_hare_5404314993_o-691x1024.webp\" alt=\"\" class=\"wp-image-7923\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beuys_how_to_explain_pictures_to_a_dead_hare_5404314993_o-691x1024.webp 691w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beuys_how_to_explain_pictures_to_a_dead_hare_5404314993_o-202x300.webp 202w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beuys_how_to_explain_pictures_to_a_dead_hare_5404314993_o-768x1139.webp 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beuys_how_to_explain_pictures_to_a_dead_hare_5404314993_o-1036x1536.webp 1036w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beuys_how_to_explain_pictures_to_a_dead_hare_5404314993_o-300x445.webp 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/beuys_how_to_explain_pictures_to_a_dead_hare_5404314993_o.webp 1349w\" sizes=\"auto, (max-width: 691px) 100vw, 691px\" \/><figcaption class=\"wp-element-caption\"><em>Joseph Beuys, image from\u00a0<a href=\"http:\/\/en.wikipedia.org\/wiki\/How_to_Explain_Pictures_to_a_Dead_Hare\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>How To Explain Pictures to a Dead Hare<\/strong><\/a>, 1965. Beuys in performance, with head coated in honey and gold leaf, mechanized and deified.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"707\" data-attachment-id=\"7924\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/abramovic_art_must_be_beautiful_artist_must_be_beautiful_5404918792\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/abramovic_art_must_be_beautiful_artist_must_be_beautiful_5404918792.jpg\" data-orig-size=\"1269,876\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"abramovic_art_must_be_beautiful_artist_must_be_beautiful_5404918792\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/abramovic_art_must_be_beautiful_artist_must_be_beautiful_5404918792-1024x707.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/abramovic_art_must_be_beautiful_artist_must_be_beautiful_5404918792-1024x707.jpg\" alt=\"\" class=\"wp-image-7924\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/abramovic_art_must_be_beautiful_artist_must_be_beautiful_5404918792-1024x707.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/abramovic_art_must_be_beautiful_artist_must_be_beautiful_5404918792-300x207.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/abramovic_art_must_be_beautiful_artist_must_be_beautiful_5404918792-768x530.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/abramovic_art_must_be_beautiful_artist_must_be_beautiful_5404918792.jpg 1269w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Marina Abramovi\u0107, still from<strong>\u00a0<a href=\"http:\/\/www.moma.org\/explore\/inside_out\/2010\/04\/06\/listening-to-marina-abramovic-art-must-be-beautiful-artist-must-be-beautiful\" target=\"_blank\" rel=\"noreferrer noopener\">Art Must Be Beautiful, Artist Must Be Beautiful<\/a><\/strong>, 1975. Taking a simple action to an extreme, and even dangerous, exaggeration.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"779\" height=\"1024\" data-attachment-id=\"7925\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/barney_cremaster_5_5404315113_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/barney_cremaster_5_5404315113_o.webp\" data-orig-size=\"1920,2524\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"barney_cremaster_5_5404315113_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/barney_cremaster_5_5404315113_o-779x1024.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/barney_cremaster_5_5404315113_o-779x1024.webp\" alt=\"\" class=\"wp-image-7925\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/barney_cremaster_5_5404315113_o-779x1024.webp 779w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/barney_cremaster_5_5404315113_o-228x300.webp 228w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/barney_cremaster_5_5404315113_o-768x1010.webp 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/barney_cremaster_5_5404315113_o-1168x1536.webp 1168w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/barney_cremaster_5_5404315113_o-1558x2048.webp 1558w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/barney_cremaster_5_5404315113_o-300x394.webp 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/barney_cremaster_5_5404315113_o.webp 1920w\" sizes=\"auto, (max-width: 779px) 100vw, 779px\" \/><figcaption class=\"wp-element-caption\"><em>Matthew Barney, image from<strong>\u00a0<a href=\"http:\/\/www.cremaster.net\/\" target=\"_blank\" rel=\"noreferrer noopener\">Cremaster 5<\/a><\/strong>, 1997. In film performances, Barney creates visually stunning, half-man-half-beast entities like this Giant.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<iframe loading=\"lazy\" title=\"vimeo-player\" src=\"https:\/\/player.vimeo.com\/video\/121815659?h=06d06aa084\" width=\"100%\" height=\"360\" frameborder=\"0\"    allowfullscreen><\/iframe>\n\n\n\n<p><em>Bruce Nauman, <strong><a href=\"https:\/\/www.moma.org\/artists\/4243\" target=\"_blank\" rel=\"noreferrer noopener\">Revolving Upside Down<\/a><\/strong>, 1968. Art as endurance.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n<p>The list of performance art practitioners includes people whom any artist should get to know. <a href=\"https:\/\/en.wikipedia.org\/wiki\/Yves_Klein\" target=\"_blank\" rel=\"noreferrer noopener\">Yves Klein<\/a> to <a href=\"https:\/\/en.wikipedia.org\/wiki\/Joseph_Beuys\" target=\"_blank\" rel=\"noreferrer noopener\">Joseph Beuys<\/a>. <a href=\"https:\/\/en.wikipedia.org\/wiki\/Vito_Acconci\" target=\"_blank\" rel=\"noreferrer noopener\">Vito Acconci<\/a> to <a href=\"https:\/\/en.wikipedia.org\/wiki\/Chris_Burden\" target=\"_blank\" rel=\"noreferrer noopener\">Chris Burden<\/a>. <a href=\"https:\/\/en.wikipedia.org\/wiki\/Marina_Abramovi%C4%87\" target=\"_blank\" rel=\"noreferrer noopener\">Marina Abramovi\u0107<\/a> to <a href=\"https:\/\/en.wikipedia.org\/wiki\/Bruce_Nauman\" target=\"_blank\" rel=\"noreferrer noopener\">Bruce Nauman<\/a>. <a href=\"https:\/\/en.wikipedia.org\/wiki\/Ana_Mendieta\">Ana Mendieta<\/a> to <a href=\"https:\/\/en.wikipedia.org\/wiki\/Matthew_Barney\" target=\"_blank\" rel=\"noreferrer noopener\">Matthew Barney<\/a>.  <a href=\"https:\/\/en.wikipedia.org\/wiki\/Ant_Farm_(group)\" target=\"_blank\" rel=\"noreferrer noopener\">Ant Farm<\/a> to <a href=\"https:\/\/en.wikipedia.org\/wiki\/Yoko_Ono\" target=\"_blank\" rel=\"noreferrer noopener\">Yoko Ono<\/a>. <a href=\"https:\/\/en.wikipedia.org\/wiki\/John_Baldessari\" target=\"_blank\" rel=\"noreferrer noopener\">John Baldessari<\/a> to&#8230; well, it is a large slice of the art world to explore. For inspiration, peruse images of these and other performance artists at work by visiting <strong><em><a href=\"https:\/\/www.theartstory.org\/movement\/performance-art\/\" target=\"_blank\" rel=\"noreferrer noopener\">The Art Story<\/a><\/em><\/strong>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Singing_sculpture\"><\/span>Singing sculpture<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Of particular interest to the 3D modeler are strains of performance that heighten awareness of body movement and\/or the use of technology. The British group Gilbert and George, with <em><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Gilbert_%26_George#Singing_and_living_sculptures\" target=\"_blank\" rel=\"noreferrer noopener\">The Singing Sculpture<\/a><\/strong><\/em>, implies both. They employ a slightly trance-like, robotic aspect in their movement and use of a synchronized soundtrack. <\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/-Hfg7qlGd-A?si=fvt0R_ucYu_Q5UWE\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Interview with Gilbert and George, including footage of <strong><a href=\"https:\/\/www.youtube.com\/watch?v=-Hfg7qlGd-A&amp;ab_channel=DPSVideoLibrary\" target=\"_blank\" rel=\"noreferrer noopener\">The Singing Sculpture<\/a><\/strong>, first performed circa 1969<\/em><\/p>\n\n\n\n<p>By the 1980s, proliferating media technologies began to make their way into performance works. Laurie Anderson&#8217;s episodic music performances come to mind, using simple movement in profile (reminiscent of shadow puppets?) and synchronized with sound.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/Vkfpi2H8tOE?si=oAkY7_LKpbh0byTp\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Laurie Anderson,\u00a0<a href=\"http:\/\/en.wikipedia.org\/wiki\/O_Superman\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>O Superman (For Massenet)<\/strong><\/a>, 1981<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_most_dangerous_shows_on_Earth\"><\/span>The most dangerous shows on Earth<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Taken to the extreme, we find a melding of performance with art machines in the work of <strong><a href=\"https:\/\/www.srl.org\/\" target=\"_blank\" rel=\"noreferrer noopener\">Survival Research Laboratories<\/a><\/strong>, founded by Mark Pauline in the late 1970s. Dedicated to &#8220;re-directing the techniques, tools, and tenets of industry, science, and the military away from their typical manifestations in practicality, product or warfare,&#8221; according to SRL&#8217;s website, they have produced some of the most extreme mechanical performances in history. These mix pyrotechnics, robotics, and animal parts, generally living up to their motto: &#8220;Producing the most dangerous shows on Earth.&#8221;<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/L5JhQCJBYdQ?si=otwt1iCHa8Iqc7K8\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em><strong>Fig 17<\/strong>\u00a0Survival Research Laboratories in an apocalyptic performance from 2006<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Virtual_performance\"><\/span>Virtual performance<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Let&#8217;s return to body-based performance \u2014 but this time, in a virtual way. We&#8217;ll conclude this exploration of precedent with a work by Eva and Franco Mattes, who go by <strong><a href=\"https:\/\/0100101110101101.org\/\" target=\"_blank\" rel=\"noreferrer noopener\">0100101110101101.org<\/a><\/strong> in cyberspace. Starting in 2007, in a series of original works and several reenactments such as their homage to Gilbert and George, they pioneered the idea of a synthetic performance in a virtual environment:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>Forget about museums, galleries and biennials, stay home and play video games. Synthetic Performances are online live gaming sessions inside the virtual world of Second Life, performed by Eva and Franco Mattes through their avatars, which were constructed from their bodies and faces. People can attend and interact with the live performances connecting to the video-game from all over the world.<\/em><\/p>\n<cite>\u2014 Eva and Franco Mattes <sup><a href=\"#footnote_4_7874\" id=\"identifier_4_7874\" class=\"footnote-link footnote-identifier-link\" title=\"Mattes, Eva and Franco. &quot;Synthetic Performances.&quot; 0100101110101101.org. 2010.http:\/\/www.0100101110101101.org\/home\/performances\/index.html\">4<\/a><\/sup><\/cite><\/blockquote>\n\n\n\n<p>Just a couple of years earlier, Marina Abramovi\u0107 had produced an homage to early performance works at a Guggenheim NY event with the ironic title\u00a0<strong><em><a href=\"https:\/\/en.wikipedia.org\/wiki\/Seven_Easy_Pieces\" target=\"_blank\" rel=\"noreferrer noopener\">Seven Easy Pieces<\/a><\/em><\/strong>. Here, she reenacted works by Vito Acconci, Chris Burden, and others. Of Eva and Franco&#8217;s Synthetic Performances she said, &#8220;It was such a good idea, I&#8217;m sort of jealous that it never crossed my mind.\u201d\u00a0<sup><a href=\"#footnote_5_7874\" id=\"identifier_5_7874\" class=\"footnote-link footnote-identifier-link\" title=\"Quoted in Mattes, Eva and Franco. &quot;Synthetic Performances.&quot; 0100101110101101.org. 2010. http:\/\/www.0100101110101101.org\/home\/performances\/index.html\">5<\/a><\/sup> In many ways, the Synthetic Performances are a digital re-manifestation of Oskar Schlemmer&#8217;s idea to create the &#8220;most romantic idea in the most detached form.&#8221;<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/wJniUjfQ7eo?si=3w1o4zQT4aLPHEbG\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Eva and Franco Mattes (0100101110101101.org), synthetic performance in Second Life in a\u00a0<strong><a href=\"https:\/\/www.youtube.com\/watch?v=wJniUjfQ7eo&amp;ab_channel=Eva%26FrancoMattes\" target=\"_blank\" rel=\"noreferrer noopener\">Reenactment of Gilbert &amp; George&#8217;s The Singing Sculpture<\/a><\/strong>, 2007. The video is a capture of a live stream from Second Life.<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Figure_reconfigured\"><\/span>Figure reconfigured<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>Now the sole reason why painters of this sort are not aware of their own error is that they have not learnt Geometry, without which no one can either be or become an absolute artist&#8230;<\/em><\/p>\n<cite>\u2014 Albrecht D\u00fcrer\u00a0<sup><a href=\"#footnote_6_7874\" id=\"identifier_6_7874\" class=\"footnote-link footnote-identifier-link\" title=\"&quot;Albrecht D&uuml;rer.&quot; The History of Painters. 2010. Web. 26 Jan 2011.http:\/\/www.historyofpainters.com\/dure.htm\">6<\/a><\/sup><\/cite><\/blockquote>\n\n\n\n<p>As the names imply, Performance Art, Happenings, Body Art, and such are devoted to the presentation of the human form, in real-time and real situations. The 3D artist works in a virtual environment. This is simply a contemporary way of saying he or she works in a representative environment and therefore must use <strong>representation<\/strong> of the body and\/or movement.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_figurative_counter-revolution\"><\/span>The figurative counter-revolution<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Starting in the 60s, that heyday of Modernist abstraction, some artists revolted against the revolution and revived figurative expression in their work. The artists who conducted this counter-revolution were largely schooled in a Modernist milieu. They had to advocate for the relevance of figurative study in a fairly hostile climate. Figure drawing had not been dismissed from art school curricula, but it did take a back seat to the prevailing dogmas of abstraction. This generation of figurative revivalists often resorted to expressionism or technology to create their work.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"744\" height=\"800\" data-attachment-id=\"7935\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/auerbach-frank-helmuth-b-1931-head-of-e-o-w-iv\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/auerbach_head_of_eow_iv_5407380152.jpg\" data-orig-size=\"744,800\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Artwork Copyright: the artist; P&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;Auerbach, Frank Helmuth; Head of E. O. W. IV; National Galleries of Scotland; http:\/\/www.artuk.org\/artworks\/head-of-e-o-w-iv-211107&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;Copyright information and licence terms for this image can be found on the Art UK website at http:\/\/www.artuk.org\/artworks\/21110&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;Auerbach, Frank Helmuth, b.1931; Head of E. O. W. IV&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Auerbach, Frank Helmuth, b.1931; Head of E. O. W. IV\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Auerbach, Frank Helmuth; Head of E. O. W. IV; National Galleries of Scotland; http:\/\/www.artuk.org\/artworks\/head-of-e-o-w-iv-211107&lt;\/p&gt;\n\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/auerbach_head_of_eow_iv_5407380152.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/auerbach_head_of_eow_iv_5407380152.jpg\" alt=\"\" class=\"wp-image-7935\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/auerbach_head_of_eow_iv_5407380152.jpg 744w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/auerbach_head_of_eow_iv_5407380152-279x300.jpg 279w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/auerbach_head_of_eow_iv_5407380152-300x323.jpg 300w\" sizes=\"auto, (max-width: 744px) 100vw, 744px\" \/><figcaption class=\"wp-element-caption\"><em>Frank Auerbach,\u00a0<a href=\"http:\/\/en.wikipedia.org\/wiki\/Frank_Auerbach\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Head of E. O. W. IV<\/strong><\/a>, 1961<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"825\" data-attachment-id=\"7936\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/21125_1687320290050\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/21125_1687320290050.jpg\" data-orig-size=\"1200,967\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;11&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon EOS 50D&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1299496952&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;33&quot;,&quot;iso&quot;:&quot;100&quot;,&quot;shutter_speed&quot;:&quot;0.00625&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"21125_1687320290050\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/21125_1687320290050-1024x825.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/21125_1687320290050-1024x825.jpg\" alt=\"\" class=\"wp-image-7936\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/21125_1687320290050-1024x825.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/21125_1687320290050-300x242.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/21125_1687320290050-768x619.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/21125_1687320290050.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Kiki Smith,\u00a0<a href=\"http:\/\/en.wikipedia.org\/wiki\/Kiki_smith\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>My Blue Lake<\/strong><\/a>, 1995. Note the similarity of Smith&#8217;s work to an image map.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>The contemporary rise of 3D modeling has led to a new revival of <strong>figure study<\/strong>. As it was for figurative painting and sculpture that preceded the Modern movement, thus it is now for certain kinds of digital modeling that life drawing is a critical skill, and understanding of anatomy is a necessary knowledge base. A 3D artist working in animation, gaming or any environment where representations of biological entities are created and manipulated is disadvantaged without this knowledge. It is a deep irony that the detached, immaterial digital world would compel artists to return to the figure!<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Study_of_the_figure\"><\/span>Study of the figure<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<p>Any 3D artist working on figurative entities should seek out courses, books, or online resources to start the study of life drawing and anatomy or enhance an existing knowledge base. One such resource is <strong><em><a href=\"https:\/\/web.archive.org\/web\/20160309062347\/http:\/\/hippie.nu\/~unicorn\/tut\/xhtml\/\" target=\"_blank\" rel=\"noreferrer noopener\">Yet Another Anthro Art Tutorial<\/a><\/em><\/strong>, which includes human, animal, and fantasy hybrids. Seek out open drawing sessions <a href=\"https:\/\/www.artmodelbook.com\/figure-drawing-directory.htm\" target=\"_blank\" rel=\"noreferrer noopener\">at this link in North America<\/a>. Most charge a modest fee, and while some are uninstructed, others have artist educators on hand to guide you. Look for the resource that&#8217;s right for you, including figure drawing or sculpting classes. If you are discouraged about your drawing ability, or you&#8217;ve turned to the computer thinking it can draw for you (surprise, surprise: it can&#8217;t!), Betty Edwards&#8217; <em><strong><a href=\"https:\/\/www.drawright.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Drawing on the Right Side of the Brain<\/a><\/strong><\/em> is the book for you.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" data-attachment-id=\"7938\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/baseline_before_and_after_5410271808_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/baseline_before_and_after_5410271808_o.jpg\" data-orig-size=\"1500,1000\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"baseline_before_and_after_5410271808_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/baseline_before_and_after_5410271808_o-1024x683.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/baseline_before_and_after_5410271808_o-1024x683.jpg\" alt=\"\" class=\"wp-image-7938\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/baseline_before_and_after_5410271808_o-1024x683.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/baseline_before_and_after_5410271808_o-300x200.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/baseline_before_and_after_5410271808_o-768x512.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/baseline_before_and_after_5410271808_o.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>A before-and-after comparison of the rapid skill-building possible in life drawing using the Edwards method. At left, a baseline self-portrait doesn&#8217;t exhibit the sure-handed sense of proportion and anatomical structure seen in the final drawing at right, done only three months later. Student work from a course taught by the author.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>While it is beyond the scope of this article to deeply delve into life drawing or anatomy, we can observe a very interesting precedent for the concept of polygonal figure modeling in the work of German artist <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Albrecht_D%C3%BCrer\" target=\"_blank\" rel=\"noreferrer noopener\">Albrecht D\u00fcrer<\/a><\/strong>. Like other artists of the Renaissance, he became fascinated with the study of the human form and perspective, paralleling many of the same discoveries made by da Vinci. We see D\u00fcrer&#8217;s interpretation of the proportions of the <em><strong>Vitruvian Man<\/strong><\/em> \u2014 the same subject seen in the more familiar da Vinci rendition.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"654\" height=\"863\" data-attachment-id=\"1426\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/hidden-geometry\/anatomical_and_geometrical_proportions_-_albrecht_durer\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Anatomical_and_geometrical_proportions_-_Albrecht_Durer.png\" data-orig-size=\"654,863\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Anatomical_and_geometrical_proportions_-_Albrecht_Durer\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Anatomical_and_geometrical_proportions_-_Albrecht_Durer.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Anatomical_and_geometrical_proportions_-_Albrecht_Durer.png\" alt=\"\" class=\"wp-image-1426\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Anatomical_and_geometrical_proportions_-_Albrecht_Durer.png 654w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Anatomical_and_geometrical_proportions_-_Albrecht_Durer-227x300.png 227w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/Anatomical_and_geometrical_proportions_-_Albrecht_Durer-300x396.png 300w\" sizes=\"auto, (max-width: 654px) 100vw, 654px\" \/><figcaption class=\"wp-element-caption\"><em>Albrecht D\u00fcrer,\u00a0<a href=\"http:\/\/commons.wikimedia.org\/wiki\/File:Anatomical_and_geometrical_proportions_-_Albrecht_D%C3%BCrer.png\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Vitruvian Man<\/strong><\/a>, 1525<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"365\" height=\"500\" data-attachment-id=\"2387\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/geometry-color-meaning\/vitruvian\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/vitruvian.jpg\" data-orig-size=\"365,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"vitruvian\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/vitruvian.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/vitruvian.jpg\" alt=\"\" class=\"wp-image-2387\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/vitruvian.jpg 365w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/vitruvian-219x300.jpg 219w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/vitruvian-300x411.jpg 300w\" sizes=\"auto, (max-width: 365px) 100vw, 365px\" \/><figcaption class=\"wp-element-caption\"><em>Leonardo da Vinci,\u00a0<a href=\"http:\/\/www.aiwaz.net\/modules.php?name=News&amp;file=article&amp;sid=24\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Vitruvian Man<\/strong><\/a>, 1487<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Proportion_and_deformation\"><\/span>Proportion and deformation<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Out of D\u00fcrer&#8217;s fascination with proportion came a unique study of the volumetric relationships of the body with space. Artists under his influence began drawing <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Solid_geometry\" target=\"_blank\" rel=\"noreferrer noopener\">stereometric<\/a><\/strong> figures. These distill the body to volumetric form to better understand its relationship to perspective foreshortening and other pictorial-spatial phenomena. These stereometric humans bear an uncanny resemblance to the low poly 3D modeling performed in Maya, a testament to the effectiveness of visualizing and drawing figurative entities in this geometrically abstract manner.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"776\" height=\"730\" data-attachment-id=\"7942\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/durer-head-2\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer-head.png\" data-orig-size=\"776,730\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"durer-head\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer-head.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer-head.png\" alt=\"\" class=\"wp-image-7942\" style=\"width:416px;height:auto\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer-head.png 776w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer-head-300x282.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer-head-768x722.png 768w\" sizes=\"auto, (max-width: 776px) 100vw, 776px\" \/><figcaption class=\"wp-element-caption\"><em>Albrecht D\u00fcrer,\u00a0<strong><a href=\"https:\/\/www.thenewslens.com\/article\/54957\" target=\"_blank\" rel=\"noreferrer noopener\">Two Heads Divided into Facets<\/a><\/strong>, 1519<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"893\" height=\"745\" data-attachment-id=\"7944\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/durer_digital_heads_5413071216_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_heads_5413071216_o.jpg\" data-orig-size=\"893,745\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"durer_digital_heads_5413071216_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_heads_5413071216_o.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_heads_5413071216_o.jpg\" alt=\"\" class=\"wp-image-7944\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_heads_5413071216_o.jpg 893w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_heads_5413071216_o-300x250.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_heads_5413071216_o-768x641.jpg 768w\" sizes=\"auto, (max-width: 893px) 100vw, 893px\" \/><figcaption class=\"wp-element-caption\"><em>Interpretation of D\u00fcrer using low-poly modeling in Maya. Illustration by the author.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"848\" height=\"1024\" data-attachment-id=\"7943\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/dleazn\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/DLeAzN.jpg\" data-orig-size=\"850,1027\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"DLeAzN\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/DLeAzN-848x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/DLeAzN-848x1024.jpg\" alt=\"\" class=\"wp-image-7943\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/DLeAzN-848x1024.jpg 848w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/DLeAzN-248x300.jpg 248w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/DLeAzN-768x928.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/DLeAzN-300x362.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/DLeAzN.jpg 850w\" sizes=\"auto, (max-width: 848px) 100vw, 848px\" \/><figcaption class=\"wp-element-caption\"><em>Erhard Sch\u00f6n, <a href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/356827\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Underweissung der Proportzion und stellung der possen<\/strong><\/a>, 1542<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"683\" height=\"568\" data-attachment-id=\"7945\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/durer_digital_figures_5413071116_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_figures_5413071116_o.jpg\" data-orig-size=\"683,568\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"durer_digital_figures_5413071116_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_figures_5413071116_o.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_figures_5413071116_o.jpg\" alt=\"\" class=\"wp-image-7945\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_figures_5413071116_o.jpg 683w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_figures_5413071116_o-300x249.jpg 300w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\" \/><figcaption class=\"wp-element-caption\"><em>Interpretation of <em>Sch\u00f6n<\/em> using low-poly modeling in Maya. Illustration by the author.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>In the third part of his comprehensive treatise <em><strong><a href=\"https:\/\/art.thewalters.org\/detail\/24598\/vier-bcher-von-menschlicher-proportion\/\" target=\"_blank\" rel=\"noreferrer noopener\">Vier B\u00fccher von Menschlicher Proportion<\/a><\/strong><\/em> (The Four Books on Human Proportion) of 1528, D\u00fcrer adjusts and distorts ideal human proportions to develop extreme examples of the variety found within human form. He uses geometric transformations of varying kinds. For example, we can observe the drawings of various facial proportions using <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Affine_transformation\" target=\"_blank\" rel=\"noreferrer noopener\">affine transformations<\/a><\/strong> that maintain horizontal parallel relationships by translating planes vertically. D\u00fcrer&#8217;s proportion grid acts much like a <strong>Lattice Deformer<\/strong> in Maya. Visit the <em><strong><a href=\"https:\/\/www.matematicasvisuales.com\/english\/html\/geometry\/transformaciones\/durer.html\" target=\"_blank\" rel=\"noreferrer noopener\">Mathematicas Visuales<\/a><\/strong><\/em> website to learn more about affine transformations.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"631\" height=\"1024\" data-attachment-id=\"7948\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/durer_face_proportion_transformation_5389419383_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_face_proportion_transformation_5389419383_o.jpg\" data-orig-size=\"827,1342\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"durer_face_proportion_transformation_5389419383_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_face_proportion_transformation_5389419383_o-631x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_face_proportion_transformation_5389419383_o-631x1024.jpg\" alt=\"\" class=\"wp-image-7948\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_face_proportion_transformation_5389419383_o-631x1024.jpg 631w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_face_proportion_transformation_5389419383_o-185x300.jpg 185w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_face_proportion_transformation_5389419383_o-768x1246.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_face_proportion_transformation_5389419383_o-300x487.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_face_proportion_transformation_5389419383_o.jpg 827w\" sizes=\"auto, (max-width: 631px) 100vw, 631px\" \/><figcaption class=\"wp-element-caption\"><em>Albrecht D\u00fcrer,\u00a0<a href=\"http:\/\/www.nlm.nih.gov\/exhibition\/historicalanatomies\/durer_home.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Transformations of a Human Head<\/strong><\/a>, 1528<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"1024\" data-attachment-id=\"7949\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/durer_digital_proportion_transformations_5412746041_o\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_proportion_transformations_5412746041_o-scaled.jpg\" data-orig-size=\"1600,2560\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"durer_digital_proportion_transformations_5412746041_o\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_proportion_transformations_5412746041_o-640x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_proportion_transformations_5412746041_o-640x1024.jpg\" alt=\"\" class=\"wp-image-7949\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_proportion_transformations_5412746041_o-640x1024.jpg 640w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_proportion_transformations_5412746041_o-188x300.jpg 188w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_proportion_transformations_5412746041_o-768x1229.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/durer_digital_proportion_transformations_5412746041_o-scaled.jpg 1600w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption class=\"wp-element-caption\"><em>D\u00fcrer&#8217;s transformations are emulated here with a lattice deformer in Maya. Illustration by the author.<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Abstraction_and_expression\"><\/span>Abstraction and expression<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>D\u00fcrer&#8217;s morphological games evolved in the hands of other artists. One such set of works is the <strong><em><a href=\"http:\/\/www.maitres-des-arts-graphiques.com\/-EXBArchive.Physiognomie1.html\" target=\"_blank\" rel=\"noreferrer noopener\">System on Physiognomy<\/a><\/em><\/strong> of Charles Le Brun. This is a series of engravings exploring the resemblances between human forms (and presumably the personalities embodied therein) and their animal counterparts. <\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"803\" height=\"1024\" data-attachment-id=\"7952\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/le_brun_lion_5409730627\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_lion_5409730627.jpg\" data-orig-size=\"1146,1461\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"le_brun_lion_5409730627\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_lion_5409730627-803x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_lion_5409730627-803x1024.jpg\" alt=\"\" class=\"wp-image-7952\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_lion_5409730627-803x1024.jpg 803w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_lion_5409730627-235x300.jpg 235w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_lion_5409730627-768x979.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_lion_5409730627-300x382.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_lion_5409730627.jpg 1146w\" sizes=\"auto, (max-width: 803px) 100vw, 803px\" \/><figcaption class=\"wp-element-caption\"><em>Charles Le Brun,\u00a0<a href=\"http:\/\/www.maitres-des-arts-graphiques.com\/-EXBArchive.Physiognomie1.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Relationship of the Human Figure with that of the Lion<\/strong><\/a>,\u00a01806<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"803\" height=\"1024\" data-attachment-id=\"7954\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/le_brun_pig_5410342232\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_pig_5410342232.jpg\" data-orig-size=\"1146,1461\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1710085059&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"le_brun_pig_5410342232\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_pig_5410342232-803x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_pig_5410342232-803x1024.jpg\" alt=\"\" class=\"wp-image-7954\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_pig_5410342232-803x1024.jpg 803w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_pig_5410342232-235x300.jpg 235w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_pig_5410342232-768x979.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_pig_5410342232-300x382.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/le_brun_pig_5410342232.jpg 1146w\" sizes=\"auto, (max-width: 803px) 100vw, 803px\" \/><figcaption class=\"wp-element-caption\"><em>Charles Le Brun,\u00a0<a href=\"http:\/\/www.maitres-des-arts-graphiques.com\/-EXBArchive.Physiognomie1.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Relationship of the Human Figure with that of the Hog<\/strong><\/a>,\u00a01806<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>In his work, he combined projection alignments with a controlling geometry based on a triangle. Presumably, the angle formed by the eye and brow line predicts an individual\u2019s proclivity: if angled upward, that individual would be a noble and spiritual entity. If angled downward, a vile and hedonistic character prevails. While the science behind physiognomy has fallen out of repute, Le Brun&#8217;s resemblances remain a useful source of inspiration for artists who wish to communicate the content of an entity&#8217;s character through metaphorical, outward, and exaggerated signals in appearance.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Entities_animation_and_CGI\"><\/span>Entities, animation, and CGI<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p><em>No amount of great animation will save a bad story.<\/em><\/p>\n\n\n\n<p>\u2014John Lasseter <sup><a href=\"#footnote_7_7874\" id=\"identifier_7_7874\" class=\"footnote-link footnote-identifier-link\" title=\"&quot;John Lasseter Quotes.&quot; BrainyQuote. 2001-11. Web. 26 Jan 2011. http:\/\/www.brainyquote.com\/quotes\/authors\/j\/john_lasseter.html\">7<\/a><\/sup><\/p>\n\n\n\n<p>We&#8217;ll conclude with a necessary but all-too-brief examination of machines and figures expressed in digital artworks, noting especially the impact that <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Computer-generated_imagery\" target=\"_blank\" rel=\"noreferrer noopener\">computer-generated imagery<\/a><\/strong> (CGI) and particularly <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Computer_animation\" target=\"_blank\" rel=\"noreferrer noopener\">computer animation<\/a><\/strong> have had on these in cinema. Like the subjects above, to delve into this history with any depth would make this title onerously long. However, it is a fascinating topic, and several online resources exist that amplify the brief exploration below.<\/p>\n\n\n\n<p>For starters, visit the <em><strong><a href=\"https:\/\/www.filmsite.org\/visualeffects.html\" target=\"_blank\" rel=\"noreferrer noopener\">Film Milestones in Visual and Special Effects<\/a><\/strong><\/em> pages on the\u00a0<strong><em>American Movie Classics<\/em><\/strong>\u00a0website. Find at what point in cinema history computers began to dominate the visual effects of Hollywood. A bit more &#8220;listy&#8221; in tone, the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Timeline_of_computer_animation_in_film_and_television\" target=\"_blank\" rel=\"noreferrer noopener\">timeline of CGI in films at <em><strong>Wikipedia<\/strong><\/em><\/a> condenses specifically digital effect history into one page for easier, if less comprehensive, reference. If you wish to explore the beginnings of CG realism in depth, visit Section 19 at <em><strong><a href=\"https:\/\/web.archive.org\/web\/20140103192500\/http:\/\/design.osu.edu\/carlson\/history\/lesson19.html\" target=\"_blank\" rel=\"noreferrer noopener\">A Critical History of Computer Graphics and Animation<\/a><\/strong><\/em>.\u00a0This academic site gives the visitor a taste of the technical hurdles that have been overcome in the past generation to bring CGI to prominence in today&#8217;s visual art world.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Works\"><\/span><em>The Works<\/em><span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>The current players in CG dominate the film industry. But many of them started in the back halls of computer science departments at colleges, in their dorms and garages. They invented conventions as they flew by the seat of their pants. Most histories rightly credit Pixar with creating the first feature-length CGI animated film in 1995 with<em> <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Toy_Story\" target=\"_blank\" rel=\"noreferrer noopener\">Toy Story<\/a><\/strong><\/em>. But a scrappy group of pioneer <a href=\"https:\/\/en.wikipedia.org\/wiki\/New_York_Institute_of_Technology_Computer_Graphics_Lab\" target=\"_blank\" rel=\"noreferrer noopener\">computer graphic artists at the <strong>New York Institute of Technology<\/strong><\/a> attempted a full-length film titled <em><strong><a href=\"https:\/\/www.cs.cmu.edu\/~ph\/nyit\/\" target=\"_blank\" rel=\"noreferrer noopener\">The Works<\/a><\/strong><\/em>, starting in the digital Stone Age of the early 1980s. <\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/18OSLeWJVJQ?si=yZhm1pjUfW_a5IPZ\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>NYIT Computer Graphics Lab,\u00a0<strong><a href=\"https:\/\/www.youtube.com\/watch?v=18OSLeWJVJQ&amp;ab_channel=Galer%C3%ADa3D\" target=\"_blank\" rel=\"noreferrer noopener\">The Works<\/a><\/strong>, circa 1982<\/em><\/p>\n\n\n\n<p>The project was too ambitious for its time and was never completed. But out of the ashes arose a phoenix of alumni who went on to Pixar, Pacific Data Images (now PDI\/DreamWorks), and other major animation houses, CG schools, and digital companies. Without cutting their teeth on <em>The Works<\/em>, who knows how long it would have been before someone had the guts to try it again? Proof that failure contains the seeds of success!<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Progenitors_of_Pixar\"><\/span>Progenitors of Pixar<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Still, we certainly must give credit where credit is due: the list of CG &#8220;firsts&#8221; compiled by Pixar is astounding. Before becoming a stand-alone powerhouse, it began in 1979 as a graphics subdivision in the computer division of Lucasfilm, Ltd. It was spun off and acquired by Apple co-founder Steve Jobs in 1986 and is currently a Disney property. In 1984, as <em>The Works<\/em> was sputtering, future Pixar guru <a href=\"https:\/\/en.wikipedia.org\/wiki\/John_Lasseter\" target=\"_blank\" rel=\"noreferrer noopener\">John Lasseter<\/a> and his future Pixar team created their first animated short,<em> <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Adventures_of_Andr%C3%A9_%26_Wally_B.\" target=\"_blank\" rel=\"noreferrer noopener\">The Adventures of Andr\u00e9 and Wally B<\/a><\/strong>.<\/em><\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/a_9Tsbduk9E?si=Dqg_kzDaIcNcwq0j\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>John Lasseter et. al.,\u00a0<a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Adventures_of_Andr%C3%A9_and_Wally_B.\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>The Adventures of Andr\u00e9 and Wally B.<\/strong><\/a>,\u00a01984<\/em><\/p>\n\n\n\n<p>By 1986, the iconic <em><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Luxo_Jr.\">Luxo Jr.<\/a><\/strong><\/em> made history as Pixar&#8217;s first independently produced short. It was the first CGI film to be nominated for an Academy Award. The cocky lamp has become Pixar&#8217;s mascot, opening each film by squishing the &#8220;I&#8221; in &#8220;PIXAR&#8221; like he did the little ball.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/FI0T0Oj7WFE?si=thTC5DkwTni42_qm\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>John Lasseter et. al.,\u00a0<strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Luxo_Jr\" target=\"_blank\" rel=\"noreferrer noopener\">Luxo Jr.<\/a><\/strong>, 1986<\/em><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" data-attachment-id=\"7958\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/pixar_logo_design_history_evolution_0_1024x1024\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Pixar_Logo_Design_History_Evolution_0_1024x1024.webp\" data-orig-size=\"1024,576\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Pixar_Logo_Design_History_Evolution_0_1024x1024\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Pixar_Logo_Design_History_Evolution_0_1024x1024.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Pixar_Logo_Design_History_Evolution_0_1024x1024.webp\" alt=\"\" class=\"wp-image-7958\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Pixar_Logo_Design_History_Evolution_0_1024x1024.webp 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Pixar_Logo_Design_History_Evolution_0_1024x1024-300x169.webp 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Pixar_Logo_Design_History_Evolution_0_1024x1024-768x432.webp 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em><a href=\"https:\/\/kreafolk.com\/blogs\/articles\/pixar-logo-design\" target=\"_blank\" rel=\"noreferrer noopener\">Pixar Logo<\/a><\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Content_is_the_driver\"><\/span>Content is the driver<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>Luxo Jr. and Sr. have both made cameos in Pixar feature films, and the small ball has made an appearance in every Pixar film. <em>Luxo Jr.<\/em> was such a phenomenon that Pixar kept producing short films like <em><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Red%27s_Dream\" target=\"_blank\" rel=\"noreferrer noopener\">Red&#8217;s Dream<\/a><\/strong><\/em> and <em><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Tin_Toy\" target=\"_blank\" rel=\"noreferrer noopener\">Tin Toy<\/a><\/strong><\/em>, the precursor to <em>Toy Story<\/em>. The Pixar shorts revived a cinematic tradition when the company started pairing shorts with feature-length films, but the shorts provided an important laboratory for effects. <em><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Knick_Knack\" target=\"_blank\" rel=\"noreferrer noopener\">Knick-Knack<\/a><\/strong><\/em>, for example, experiments with water environments and particle effects that are used in later films like <em><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Finding_Nemo\" target=\"_blank\" rel=\"noreferrer noopener\">Finding Nemo<\/a><\/strong><\/em>.<\/p>\n\n\n\n<p>Nevertheless, while effects were important, the critical lesson Pixar teaches us is\u00a0that <em><strong>content is the driver<\/strong><\/em>. The reason Pixar&#8217;s films are so enduring is that they are well-crafted narratives, not because the effects are whiz-bang. We can look past what now seems like comparatively primitive animation in the first <em>Toy Story<\/em> because the story is so compelling, if a bit sentimental.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_rise_of_Maya\"><\/span>The rise of Maya<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Another important lesson can be found in the work of <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Chris_Landreth\" target=\"_blank\" rel=\"noreferrer noopener\">Chris Landreth<\/a><\/strong>. An engineer turned artist, Landreth was one of the first animators to test Maya as a production-quality software package. His work, which he dubs <strong><em>Psychorealism<\/em><\/strong> for its use of exaggeration and surreal effects, does not create a <em>realistic<\/em> world. But it does create a <em>believable<\/em> world. That is, the distortions and manipulations of reality create a world that permits the audience to <a href=\"https:\/\/en.wikipedia.org\/wiki\/Suspension_of_disbelief\" target=\"_blank\" rel=\"noreferrer noopener\">suspend its disbelief<\/a> in the face of the fantastic elements Landreth employs. See for yourself in his works <em><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Ryan_%28film%29\" target=\"_blank\" rel=\"noreferrer noopener\">Ryan<\/a><\/strong><\/em>, <em><strong>The End<\/strong><\/em>, and <em><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Bingo_(1998_film)\" target=\"_blank\" rel=\"noreferrer noopener\">Bingo<\/a><\/strong><\/em>.\u00a0<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/i6dSZYoAIdg?si=Tm4edzzdlFw8gh5f\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>Chris Landreth,\u00a0<strong><a href=\"https:\/\/www.youtube.com\/watch?v=i6dSZYoAIdg&amp;ab_channel=FreeMoviesCinema\">Bingo<\/a><\/strong>, 1998<\/em><\/p>\n\n\n\n<p><em>Bingo<\/em>\u00a0was released by <a href=\"https:\/\/en.wikipedia.org\/wiki\/Alias_Systems_Corporation\" target=\"_blank\" rel=\"noreferrer noopener\">Alias\/Wavefront<\/a> to demonstrate the capabilities of Maya for the software&#8217;s general release in 1998, but this was not Maya&#8217;s first use in cinema. Before the merger with Wavefront, Alias had been adapting an earlier non-animation product for animation purposes. Code-named &#8220;Maya&#8221; after the Sanskrit term for the concept of <em>illusion<\/em>, this pre-release version of the software made its earliest film splash as the generator for the Cave of Wonders in Disney&#8217;s <em><strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Aladdin_%281992_Disney_film%29#cite_ref-diamond_4-4\" target=\"_blank\" rel=\"noreferrer noopener\">Aladdin<\/a><\/strong><\/em> in 1992.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/2W-mpUPWSBU?si=CjqgXjEYWbcDk8tr\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>John Musker and Ron Clements, Cave of Wonders sequence from\u00a0<a href=\"http:\/\/en.wikipedia.org\/wiki\/Aladdin_%281992_Disney_film%29#cite_ref-diamond_4-4\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Aladdin<\/strong><\/a>,\u00a01992<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Proprietary_and_open-source\"><\/span>Proprietary and open-source<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Maya software has continued to play a major role in animation and special effects creation. A partial listing of major films that use Maya includes:<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<ul class=\"wp-block-list\">\n<li><em>Spider-Man<\/em><\/li>\n\n\n\n<li><em>Star Wars Episode II: Attack of the Clones<\/em><\/li>\n\n\n\n<li><em>The Lord of the Rings: The Fellowship of the Ring<\/em><\/li>\n\n\n\n<li><em>The Lord of the Rings: The Two Towers<\/em><\/li>\n\n\n\n<li><em>Gladiator<\/em><\/li>\n<\/ul>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<ul class=\"wp-block-list\">\n<li><em>The Matrix<\/em><\/li>\n\n\n\n<li><em>The Matrix Reloaded<\/em><\/li>\n\n\n\n<li><em>What Dreams May Come<\/em><\/li>\n\n\n\n<li><em>The Hulk<\/em><\/li>\n\n\n\n<li><em>Terminator 3: Rise of the Machines<\/em><\/li>\n<\/ul>\n<\/div>\n<\/div>\n\n\n\n<p>This is not to say these films used Maya exclusively. Practically every film is created using a combination of software packages, renderers, and compilers.<\/p>\n\n\n\n<p>Most of the large animation houses combine commercial software with in-house proprietary software. We&#8217;ve already mentioned Pixar&#8217;s Marionette. Another notable in-house software is Weta Digital&#8217;s <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/MASSIVE_(software)\" target=\"_blank\" rel=\"noreferrer noopener\">MASSIVE<\/a><\/strong> developed for the battle scenes in the <em>Lord of the Rings<\/em> trilogy. Sony Pictures Animation&#8217;s <strong><a href=\"https:\/\/fpsunflower.github.io\/ckulla\/data\/2018_tog_spi_arnold.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Arnold<\/a><\/strong> is a spinoff of the commercially available standard shader in Maya. Another is PDI\/Dreamworks&#8217; <strong><a href=\"https:\/\/en.wikipedia.org\/wiki\/Pacific_Data_Images\" target=\"_blank\" rel=\"noreferrer noopener\">e-motion<\/a><\/strong>, and there are many others. These software packages are carefully guarded proprietary assets, and little is known about them out-of-house. This should reinforce the message that software skills are a fairly ephemeral and transferable knowledge base. The animators in these studios instead rely on building their skills to tell a good story. They know how to use observation of the world to work with and manipulate the laws of physics through animation.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Blender_vs_Maya\"><\/span>Blender vs Maya<span class=\"ez-toc-section-end\"><\/span><\/h4>\n\n\n\n<p>What is an aspiring animator to do if the door is closed on these in-house assets, and Maya is too darn expensive? <strong>Blender<\/strong> is a solid open-source alternative to hone modeling skills. The age-old Maya-vs-Blender debate is chronicled well at <strong><em><a href=\"https:\/\/www.sculpteo.com\/en\/3d-learning-hub\/3d-printing-software\/blender-vs-maya\/#:~:text=In%20our%20battle%20Blender%20vs,effective''%20on%20many%20forums.\">Sculpteo<\/a><\/em><\/strong>, but we think it&#8217;s pointless to take sides here. In the studios where I teach, we are a Maya shop for a simple reason. Blender is free, both <a href=\"https:\/\/en.wikipedia.org\/wiki\/Gratis_versus_libre\" target=\"_blank\" rel=\"noreferrer noopener\"><em>gratis<\/em> and <em>libre<\/em><\/a>, and anyone can pick it up at any time without a problem. <a href=\"https:\/\/www.guru.com\/blog\/why-do-companies-use-maya-instead-of-blender\" target=\"_blank\" rel=\"noreferrer noopener\">Maya is unaffordable<\/a> if you&#8217;re not a company or studio, so teaching Maya through an institution makes it accessible for people to learn.<\/p>\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/B0J27sf9N1Y?si=AuZP9h5vJ46XiSfa\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n\n\n\n<p><em>The famous Blender donut tutorial by the <a href=\"https:\/\/www.youtube.com\/@blenderguru\"><strong>Blender Guru<\/strong><\/a><\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Principles_of_Animation\"><\/span>Principles of Animation<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>Art Babbitt, a famous pre-CGI animator for the Walt Disney Studios, is attributed with saying, &#8220;Animation follows the laws of physics \u2014 unless it is funnier otherwise.&#8221; Riffing off of this basic idea, colleagues Ollie Johnston and Frank Thomas formulated a series of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Twelve_basic_principles_of_animation\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>12<\/strong> <strong>principles of animation<\/strong><\/a>. They detail these in their 1981 book<em> <strong>The Illusion of Life: Disney Animation<\/strong><\/em>. We&#8217;ll close by listing them. <a href=\"https:\/\/www.frankandollie.com\/PhysicalAnimation.html\" target=\"_blank\" rel=\"noreferrer noopener\">Look to this article on Frank and Ollie&#8217;s website<\/a> to elaborate on each one (or, better, buy their book!):<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<ul class=\"wp-block-list\">\n<li><em>Squash and stretch<\/em><\/li>\n\n\n\n<li><em>Anticipation<\/em><\/li>\n\n\n\n<li><em>Staging<\/em><\/li>\n\n\n\n<li><em>Straight-ahead action and pose-to-pose<\/em><\/li>\n\n\n\n<li><em>Follow-through and overlapping action<\/em><\/li>\n\n\n\n<li><em>Slow in and slow out<\/em><\/li>\n<\/ul>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<ul class=\"wp-block-list\">\n<li><em>Arcs<\/em><\/li>\n\n\n\n<li><em>Secondary action<\/em><\/li>\n\n\n\n<li><em>Timing<\/em><\/li>\n\n\n\n<li><em>Exaggeration<\/em><\/li>\n\n\n\n<li><em>Solid drawing<\/em><\/li>\n\n\n\n<li><em>Appeal<\/em><\/li>\n<\/ul>\n<\/div>\n<\/div>\n\n\n\n<div style=\"padding:39.56% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/93206523?h=d496437eee\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/div>\n\n\n\n<p><em>Cento Lodigiani, <strong><a href=\"https:\/\/vimeo.com\/93206523\" target=\"_blank\" rel=\"noreferrer noopener\">The illusion of life<\/a><\/strong>, 2014<\/em><\/p>\n\n\n\n<p>As a finale to this topic, we recommend the article <strong><a href=\"https:\/\/scifi.radio\/2017\/09\/07\/12-principles-animation-updated-modern-age\/\" target=\"_blank\" rel=\"noreferrer noopener\">The 12 Principles of Animation, Updated for the Modern Age<\/a><\/strong> by Gene Turnbow.<\/p>\n<ol class=\"footnotes\"><li id=\"footnote_1_7874\" class=\"footnote\">Aristotle, trans. Farquharson, A. S. L. &#8220;On the Motion of Animals.&#8221; eBooks@Adelaide | University of Adelaide. 2007. Web. 26 Jan 2011.\u00a0<a href=\"http:\/\/ebooks.adelaide.edu.au\/a\/aristotle\/motion\/\">http:\/\/ebooks.adelaide.edu.au\/a\/aristotle\/motion\/<\/a><span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_1_7874\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_2_7874\" class=\"footnote\">&#8220;CAD Text -Computer Aided Duchamp.&#8221; Through the Large Glass: An installation of computer work based on the Art of Marcel Duchamp. 1997.\u00a0<a href=\"http:\/\/www.p22.com\/projects\/roomd.html\">http:\/\/www.p22.com\/projects\/roomd.html<\/a><span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_2_7874\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_3_7874\" class=\"footnote\">Quoted in Oskar Schlemmer. 2010. Web. 26 Jan 2011.\u00a0<a href=\"http:\/\/www.schlemmer.org\/\">http:\/\/www.schlemmer.org\/<\/a><span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_3_7874\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_4_7874\" class=\"footnote\">Mattes, Eva and Franco. &#8220;Synthetic Performances.&#8221; 0100101110101101.org. 2010.<br><a href=\"http:\/\/www.0100101110101101.org\/home\/performances\/index.html\">http:\/\/www.0100101110101101.org\/home\/performances\/index.html<\/a><span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_4_7874\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_5_7874\" class=\"footnote\">Quoted in Mattes, Eva and Franco. &#8220;Synthetic Performances.&#8221; 0100101110101101.org. 2010. <a href=\"http:\/\/www.0100101110101101.org\/home\/performances\/index.html\">http:\/\/www.0100101110101101.org\/home\/performances\/index.html<\/a><span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_5_7874\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_6_7874\" class=\"footnote\">&#8220;Albrecht D\u00fcrer.&#8221; The History of Painters. 2010. Web. 26 Jan 2011.<br><a href=\"http:\/\/www.historyofpainters.com\/dure.htm\">http:\/\/www.historyofpainters.com\/dure.htm<\/a><span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_6_7874\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_7_7874\" class=\"footnote\">&#8220;John Lasseter Quotes.&#8221; BrainyQuote. 2001-11. Web. 26 Jan 2011. <a href=\"http:\/\/www.brainyquote.com\/quotes\/authors\/j\/john_lasseter.html\">http:\/\/www.brainyquote.com\/quotes\/authors\/j\/john_lasseter.html<\/a><span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_7_7874\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><\/ol>","protected":false},"excerpt":{"rendered":"<p>16-minute read Puppets The movements of animals may be compared with those of automatic puppets, which are set going on the occasion of a tiny movement; the levers are released, and strike the twisted strings against one another; or with the toy wagon. For the child mounts on it and moves it straight forward, and&#8230; <a href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/\">read more &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[8],"tags":[],"class_list":["post-7874","post","type-post","status-publish","format-standard","hentry","category-paralleluniverses"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>CHAPTER 17 | Metaphors to Performance - newMediaWiki<\/title>\n<meta name=\"description\" content=\"Chapter 17 Metaphors to Performance: the animator becomes puppeteer, machinist, performance artist, and more in a 3D modeling environment.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-17-metaphors-to-performance\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"CHAPTER 17 | Metaphors to Performance - 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