數位藝術表現於「碎形動畫」之研究

Date
2014
Authors
吳宇凡
Yu Fan Wu
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Abstract
藝術的展現,往往反映了人們如何認知理解這世界;因此隨著世界不斷的改變及科技不斷的推進,每個年代對於藝術的表現也往往有所不同。1989年個人電腦的時代來臨後,藝術家可以突破現成材料的先天限制自行決定新的表達方式,於是程式語言成了藝術家發聲的一種管道,數位藝術中的「軟體藝術」因應而生,從此藝術有了更多元的面貌。碎形理論是近年來新興的幾何科學,自1970年代碎形理論被IBM的研究人員曼德布洛特(B.B.Mandelbrot)提出以來,原本用來揭示自然界混亂無規則結構中的規律性的科學理論,漸漸的與電腦化、數位化的軟體藝術相結合,自成一派「碎形藝術」,讓我們體驗到一種不同於歐幾理德幾何學的視覺經驗。碎形藝術發展至今靜態的平面設計表現已經相當多樣化且成熟,但動態的碎形動畫藝術卻因為程式碼相對的難以控制,使得藝術家或是設計師往往望之卻步;本研究旨在嘗試在各種2D、3D的動畫軟體交互運用下,不拘泥於單純的電子程式碼,而是掌握碎形中「隨機」、「自相似」的特性創作動畫,期望得到不同於平面視覺的動態碎形經驗,並紀錄創作過程中遇到的問題,以期作為其他創作者的參考文獻與後續研究的基石。
The expression of art often indicates the perception that humanity has of the world. Thus, the representation of art varies with the continuous change in the world and the development of technology. Since the arrival of the personal computer in 1989, artistes have been able to produce work above the limits dictated by existing materials. The language of programs has become one of the major methods to convey the message of art. Therefore, the arena of “software art” within the field of digital art has appeared and has added more facets in the means of expressing art. The fractal theory is a type of geometric science that has just come into existence in the recent years. Benoit B. Mandelbrot, a researcher in IBM, established the fractal theory in the 70s. Since then this scientific theory, that used to be applied only to interpret the rhythm of the disorderliness in nature, has gradually been integrated with computerized and digitalized software art. Owing to such an integration, “Fractal Art” is formed and a visual experience that is different from the Euclid‘s treatise on geometry is brought to the audiences. The development of Fractal Art has reached a level of maturity and includes a wide spectrum of varieties in terms of 2D graphic design. The animation design of Fractal Art, on the other hand, is much more challenging to the artists and designers due to its uncontrollable programming codes. This study aims at: practicing the interaction between various types of 2D and 3D animation software, and applying the characteristics of “random” and “self similarity” in fractals to create animation rather than purely utilizing simple programming codes. Consequently, the experience of animated fractals as opposed to that of 2D fractals is acquired. Also, the difficulties encountered during the progression of this project will be recorded to be of reference to later animators and researchers undertaking investigations in the relevant topics.
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Keywords
碎形藝術, 數位藝術, 軟體藝術, 自相似, fractal art, digital art, software art, self similarity
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