Schnellraumseher: Bouncing Ball

  「Schnellraumseher: Bouncing Ball」 


Kuma Exhibition 2018(にて展示

 本作品は,空間・時間的に操作可能な物体による「空間アニメーション」を再生するメディア装置Schnellraumseherと,物質性と非物質性を併せ持つプリミティブなコンテンツBouncing Ballで構成されます.

 Schnellraumseherは,映画が誕生する以前,1886年にオットマール・アンシュッツによって発明されたElektrischer Schnellseherを3次元に拡張したものです.ここでの3次元というのは,表現物体と表現空間に対して使用しています.1フレームに対応する物体それぞれに対しての発光制御に加えて,物体の回転制御を加えることで,物体を表示する時間位置と空間位置を操作可能にしました.



 Bouncing Ballは,アニメーション表現の中でも非常にプリミティブな表現です.落下運動という物理的な運動をしつつも,Squash(潰し) and Stretch(伸ばし)という非物質的な変形をするアニメーション独特の表現です.物理制約から離れたアニメーションという文化で誕生した物質性と非物質性を併せ持つコンテンツを,3次元表現物体・表現空間で表現される「空間アニメーション」になったとき,どのような変化をもたらすのでしょうか.





  「Schnellraumseher: Bouncing Ball」 

Kenta Suzuki

 This work consists of Schnellraumseher which is a media device reproducing "spatial animation" that can be editted spatially and temporally, and a premitive content "Bouncing Ball" having both materiality and nonmateriality. 

  Schnellraumseher is an extension of the Elektrischer Schnellseher, invented by Ottomar Anschütz in 1886, before the birth of the film. By extending the object and the space into a three-dimension, it is possible to make "spatial animation". By adjusting to the light control for each object and rotation control of the objects, the time and space position for reproducing the image can be editted. 

  Existing three-dimensional animation devices have some expressive remitations: the first is that the multiple animation should be reproduced at the same time, the second is that the determined frame order can be only played and the third is that it can only reproduce animation in the divided space of the media device. Due to these constraints, the reproduced object is a three-dimensional object, but the methods of reproduction and appreciation are two-dimensional.

 I created this media device with the intention to break the limits of it. Schnellraumseher is a term in which raum (space) is inserted into the words shnell (fast) and seher (see). When the space in which the animation is born in the culture of the image is extended to the three dimension, the anime creator must reproduce animation in a completely different way. From the point of view of appreciation, the concept of front is no longer available, allowing viewing from 360 °. 

 Bouncing Ball is a very premitive animation in the expression of anime. It is a unique animation of a non-physical variant of Squash and Stretch while doing a physical movement of a falling motion. What kind of changes does it make in our society when the content, which is born of a culture separated from the physical constraints and has a combination of materiality and nonmateriality, becomes "spacial animation"?

Supported by:

Kuma Foundation


University of Tsukuba openfab Sobo

Kenta Suzuki

It is a personal web page of Kenta Suzuki.


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