Animation precedes the invention of photography and the cine camera by several decades. It is an art form in which a world of dynamic image and sound may be synthesised completely out of nothing but a thought (see Peter Greenaway quote, right).
Animation is 100% artifice, and as such, the synthesis of movement through the sequential use of small fragments of time, which gives rise to this wondrous illusion, is open to manipulation in extraordinary ways.
Animation is the most nimble of mediums. It has survived the mechanical 'persistence of vision' toys popular in the 19th century; found expression as an art form in cinema; it was the means by which to experiment with time-based art and cinematic forms to present new visual vocabularies; it was brilliantly positioned to pioneer the use of computers to create moving images from numbers; it has demystified complex processes; visualised scientific phenomena and provided simulation models to help us understand the world; it has become an essential ingredient in multimedia content; it is imbedded in the control interface display of multi-million dollar jet fighter planes, it is integral to the computer games industry; it increasingly underpins all special effects in motion picture production; and it has provided content in an ideal form to distribute across a bandwidth poor networked environment.
Animation is an art form which can come from anywhere and which can go to anywhere - from a large production team working in a highly specialised studio or a lone individual working out of a bedroom, to an Imax Cinema screen several metres wide or a mobile phone screen a few centimetres across.
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