Animation

In contemporary digital culture, computers are shrinking in size while computer networks grow increasingly large. At the same time, individuals have an array of technologies at their command, but are also faced with overwhelming options and information, and are subject to extensive and intrusive data collection. This article explores dichotomies between the miniature and vast or gigantic in recent films with narratives of scalar difference, including Jack the Giant Slayer, Pacific Rim, and Wreck-It Ralph. The author suggests that the representations of scale in these films offer implicit commentary on the digital technologies used to produce their scaled effects and images, and further serve as allegories of containment and excess, control and the uncontrollable, as pertaining to digital imagery and technologies.

Scalar travel documentaries and their adaptations in interactive media present animated models of the body’s interior and the physical worlds at a variety of scales. Featuring increasingly comprehensive animated images at microscopic and macroscopic scales, they help scientists better understand the structure of the universe. This article examines the poetics of scale and the diverse rhetorical mechanisms used in these documentaries. In Powers of Ten and Cosmic Voyage, for instance, the metronomic overview of the underlying organization of the natural world generates ideological discourses on the position of humankind in the universe. The mechanical gaze these films produce, it is argued, reveals the instrumentality of new modes of knowledge and the posthuman nature of our perception. Finally, comparing the various ways with which scalar documentaries animate scientific models, this article suggests that the visions of the natural world these films construct should be more reflexive of the limits of representation at the edge of the knowable.

Examining what the author calls ‘small-screen panoramas’, a set of software-based digital panorama services that provide the production and navigation of panoramic photographs available for users’ experience on small-screen devices (laptops, mobile phones, tablet PCs), this article argues that the panoramas’ algorithmic view and movement signal an emerging visual regime that remediates the scale and mobility of their pre-digital predecessors. Digital compositing technique reinstates the sensory and epistemological conditions of the panoramic, ‘tourist’ gaze of modernity as it combines discrete pictures of a location into a 360-degree seamless visual field that proffers an immersive form of spectatorship. At the same time, however, the applications undermine the visual field and spectatorship of the traditional panorama as their technological features activate the embodied, material, and contingent aspects of mobile media spectatorship: the portability of laptops and mobile phones and the applications’ algorithmic streamlining of 2D photographs. These examples, the author claims, demonstrate that, despite the applications’ efforts to create seamless virtual 3D images, they lead to the paradoxical coexistence of the animated and the static, of the immersive and the miniaturized, and the embodied and the disembodied.

The recent adaptation of tilt-shift photography by digital technology has produced a fascinating optical illusion that makes film captures of real landscapes appear as if they are fake miniatures – an animated tilt-shift flânerie that encapsulates cities into toy-like visions of themselves, using time-lapse photography to create the effect of stop-motion animation. This sophisticated reimagining of 19th-century postcards utilizes early 20th-century innovations in aerial photography to create a radical shift in scale – both visual and temporal – that results in startling alterations in perception and a new phenomenology of seeing. The confluence of micro and macro perception into one animated image challenges the human perception of time and space in a way that mirrors modernization and globalization. Tilt-shift flânerie also, as this article argues, echoes changes in global perspective that encourage greater cosmopolitan awareness and the reworking of cultural and national boundaries in line with a postmodern erosion of the monocular eye and universal vision. It results in an enhanced spatial perspective that allows us, like Alice in Wonderland, to scale ourselves to an unexpected new relationship with the world, inscribing individuals into a landscape that fits energetically, tilting and shifting, into the eye of the beholder.

‘Scale’ is a nest of complications: it is a highly contested term in a range of disciplines, from geography to ecology, from philosophy to science and technology studies. The heart of the problem is the dispute over its ontological status and topological properties. ‘Scale’ is often assumed to be an ordered totality that one can navigate by zooming in and out, as in Powers of Ten and Google Earth. Such modes of visualization not only give form to a planetary consciousness, but also enable surveillance and warfare in what the author calls ‘the age of the world zoom’. Whereas some geographers have called for the rejection of scalar thinking altogether, he demonstrates how object-oriented ontology (OOO) and actor-network theory (ANT) can offer new insights into conceptualizing the interrelations of entities without falling into the traditional pitfalls of ‘scale’. These approaches lay the groundwork for ‘ecology without scale’, or thinking about interconnectedness beyond scalar notions.

Over the last two decades, the technologies of performance capture and robotic surgery have increased in both use and visibility. While these technologies might initially seem quite dissimilar, they each produce a human–machine assemblage that enacts itself across different scales. Each technology ‘captures’ a performance, translates that performance into digital information, and recodes that performance into another body. This article argues that both performance capture and remote surgery penetrate the materiality of the body and reconstitute that materiality elsewhere, as a human’s bodily movements are captured, transmitted, translated, and finally recoded into that of another body, be it an analogue or digital form of embodiment. The shift in scale produced by each technology – in terms of movement, perception, experience, and sensation – demonstrates the extent to which these technologies of telepresence foster a multilocal experience of the body, the dispersion of authorial control across the human–machine assemblage, and a reinforcement of embodied experience despite an embrace of cultural fantasies of the disembodiment of information. This article takes an explicitly phenomenological position, examining the connective tissue that binds actor and avatar, surgeon and robot. The ligaments that connect human and nonhuman both separate and draw the entities close together, and this article explores the resultant shifts in scale, perception, and experience engendered by performance capture and robotic surgery.

The drive to make human–computer interactions more efficient and effortless has pushed interface designers to think about new methods of information transmission, display and manipulation. The incorporation of haptic feedback cues into the computer interfacing schematic allows the tactile channel to be opened up as a means of complementing and challenging the data provided by the senses of seeing and hearing. In this article, using the Novint Corporation’s Falcon three-dimensional touch interface as a case study, the author examines the strategic aims of animating and scaling computer-generated space for the haptic. Spaces of heterogeneous scales, from the microscopic to the macroscopic, can be rendered as analogous force sensations using the Falcon’s three-dimensional workspace. The author argues that the project of incorporating complex touch feedback into computing entails not just a transformation of spatiotemporal field accessed by touch, but a wholesale redefinition and rearticulation of touch as a category of human experience.

This article analyzes the discursive and conceptual equation of the ocean and the database. Considering how the chemical and vital properties of seawater serve to transform what is ‘stored’, the language of flow and fluidity is inadequate to describe what seawater actually does to things – it encrusts them, rusts them, adheres burgeoning life-forms to them. Seawater asks us to rethink terrestrial notions of the archive or database as informed by the language of earth and sediment, and instead consider the ocean-as-database in terms of seawater’s capacity for protean transformation. Although the protean properties of seawater are meaningful at a macro scale, on increasingly microscopic scales, multiple processes of abstraction make seawater commensurate with digitality. The author considers the stakes of focusing on different scales of seawater and its materiality, taking as her examples two different data visualizations/animations: Google Ocean (scaling the ocean down to the size of a computer screen) and ATLAS in silico (scaling ocean microbial genomic data up to the size of a projection, or cluster of computer screens). She concludes by asking, how might a theory of media evolve from the materiality of seawater differently on macro and micro scales?

Viral aesthetics have become increasingly present in representations of health and illness. Since electron microscopy was first used to graphically isolate HIV, the ‘viral look’ has influenced academic and popular discussions about life and death. Commonly, the virus is associated with rapid and unseen transmission, hiding and genetic recoding that make identification and elimination difficult, and ‘sleeper cell’ behavior that delays detection and treatment. Visually isolating, eliminating and controlling molecular matter suggests that, in order to preserve life, foreign matter must be visually as well as biologically controlled. Recent attempts at imaging molecular space have shifted the practices of researchers. Using algorithms, models, and graphical interfaces, researchers now gain visual access to molecular space via simulation rather than photography, enrolling the public in the production of scientific research. Games such as Foldit use competitive play as a research method. Overcoming the problem of molecular scale using computer processing, and operationalizing the critique of ‘expert knowledge’ formulated by ACT UP in response to the HIV/AIDS pandemic, some successes have already been reported. This article demonstrates how scalar travels, the practices of visualization that disclose them, and the participatory possibilities of research remind us of the power of cultural practices in creating scientific knowledge.