ISSN: 20427875
Online ISSN: 20427883
First published in 2011
2 issues per volume
Current Issue:
Volume 3 / Issue 1-2 Free Issue
Volume 1 | Issue 1
Call for Papers
 

Please click here for the current Call for Papers.

 Download the AP3 Notes for Contributors

Animation Practice, Process and Production (AP3) is dedicated to:

• revealing the critical and creative approaches to making animation
• engaging with the work of the many practitioners involved in the production, exhibition, preservation and pedagogy of animation
• providing an innovative platform of presenting work dedicated to disseminating skills, knowledge and academic critique in non-traditional ways
• profiling and celebrating all forms of animation practice, across platforms, and in a range of production contexts

Animation has become one of the most significant creative forms available for personal and professional expression in the contemporary era. Its capacity to depict inner passions and preoccupations, changing politics and the shifting dynamics of cultures globally, has helped it become an omnipresent aspect in defining the mass-mediated modern world.

Following an extended historical period of dismissal and marginalization, animation is now finally achieving a major degree of recognition as an art form, a discipline for increased academic study, and as a commercially successful application across a range of platforms.

In recognition of this, AP3 is dedicated to addressing the ideas and issues in the process, practice and production of animated screen works. Further, it seeks to find as many new ways of defining and presenting the emotional intelligence, practical endeavour and imaginative spectacle of the animation practitioner.

The animation practitioner will be understood in a number of roles, including, for example, the animator, the independent auteur, the curator, the producer, the scriptwriter, all roles within the studio production pipeline (storyboard, layout, editor, technical director etc.), the archivist, the collector, the festival director, the university / college / school animation tutor, the researcher, the actor, the sound designer, the exhibitor, etc. This approach represents a fundamental attempt to ensure that those who engage with the making, presentation and preservation of animated forms have a key voice in the critical community.

AP3 is committed to the view that there are many different ways of articulating and disseminating knowledge and skills, and that animation might be understood as a research-led and research-based practice – not necessarily comparable to traditional models – but nevertheless informed by questioning, conceptual development and problem solving, drawing upon established historical and intellectual precedents, and offering solutions through creative interventions and outcomes. This, in turn, defines animated screen works as both practice-based research and fundamental artistic achievements.

AP3 wishes to acknowledge and represent technical and applied endeavour as the intellectual currency embedded in practical work. Apprehending and applying tools with a major degree of creative and critical dexterity is at the heart of the visualization and moving image process, but is not properly recognized for its level of conceptual and analytical understanding. Though potentially regarded as a ‘non-traditional’ model of intellectual engagement, it is vital that this is understood, acknowledged and evidenced. The emphasis on traditional forms of intellectual output as the expression of knowledge and skills is not necessarily pertinent here, nor does it adequately reflect what is being achieved through the creative intelligence of practitioners through their work.

AP3 is a journal seeking to reflect both the history and contemporary practice of making animation, presenting the evidence and analysis of process and production as the intrinsic vocabulary in visualizing meaning and affect. In essence, this will represent the constant reinvention and redefinition of the form, and articulate its increasing significance both at the margins and in the mainstream.

 

 

 

 

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