By Kenny K. N. Chow (auth.)
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Extra resources for Animation, Embodiment, and Digital Media: Human Experience of Technological Liveliness
42–43). , 1991, p. 172). From this, they argue that cognition is inseparable from sensory perception and motor action. , Hubert Dreyfus). Among all these substantial works, application of embodied cognition theories to explaining how people experience animated phenomena in digital interactive media is still underexplored. This book is an inquiry into the relationship between the technology-enabled animated phenomena and our embodied cognition. In the following sections, I revisit the several areas of knowledge and practice related to theorizing animated phenomena.
Technological Liveliness 39 After Part II, the theoretical construction of design principles and analytical tools, the third part proceeds to give detailed analyses of a corpus of computational media artifacts. Each artifact will be described and articulated with a proﬁle of values in terms of the said qualitative variables. Explication of such values with respect to the artifact then follows. The corpus consists of computational system and website interfaces, video games, and computer-based art.
These works show a long landscape of outdoor or indoor space in which characters are involved in certain events. These events seem to unfold successively to a viewer when one scans from one end to the other of the scroll. However, the viewers should not move themselves along the scroll to scan it, but rather move the picture. The Chinese art historian Wu Hung describes the proper, and also the ‘private’ way of viewing a handscroll (Wu, 1996, pp. 59–61). When not in use, a handscroll is rolled up.
Animation, Embodiment, and Digital Media: Human Experience of Technological Liveliness by Kenny K. N. Chow (auth.)