Collage Approach

The text in this scene was made by cutting and pasting pieces from other texts to stitch together a narrative.

I am trying to organize the theoretical framework down into 3 steps/functions

Look at emerging media as a blend of existing mediums and break it into existing dialects with conventions, identify an overarching logical structure that can describe all the components, and use the logical form to analyze the structure, guide narrative support through the medium, and as a generative device to combine the dialects into idioms with virtues unique to the new blended media platform.

1. Overarching logical form to analyze structure,
   1. Speech Act Theory (J. L. Austin, Ronald Grimes, mentioned briefly in another writing on film crit which I have not found)
   2. The Heroes Journey (Joseph Campbell)
   3. The Spectator in the Text (Nick Browne)
   4. Mirror Stage (Jacques Lacan)
2. Applying the structure to guide narrative support through medium
   1. the decision to add pages to support the primitive
   2. importance of the equivocal artifact in the Pop-up page
3. Using the logical form as generative device to combine the dialects into idioms
   1. switching dialects to make the scenes performative

Nick Browne's "The Spectator in the Text" Bridges Cinema and Theatre, but Fails to Describe Blended Media

Professor Nick Browne proposes a reevaluation of the “center” through “reading” the film and assessing rational for camera motivation through an implied narrator placed by the spectator combined with the “implied position of the spectator”. Interpretation of the figurative placement or “center” of the spectator is complicated because the viewer can disagree with the opinions of the character represented through the geographic position and angle of the camera. This act of defiance with the physical perspective places the narrative authority in the possession of the spectator (132-133).
The switching of modes, alternating contrasting elements, is read as a as a coherent statement to the spectator, conveying a sense of meaning over time. Key to the process of reading is forgetting the elements that composed the dramatic impact, brought about by the placement of a new occluding significant event for the spectator to read, an effect Browne calls “fading” (135). A spectator reads emphasis implied through temporal variation in cycles of retrospection, fading, delay, and anticipation, an act that further involves the spectator (136).
Identification with a character on screen, without a sense of displacement as the shots change, relieves the spectator’s point of view from a “given spatial location” (134 and 137). The text the spectator inhabits is, as Browne puts it, “the product of the narrator’s disposition toward the tale” (136). Within the presentation of this structure the author transfers the appearance of authority onto the characters. To the reader, the “center”, in the context of the specular text, is a function that is adopted as the one who makes the form intelligible, and for the spectator the center is the impression of being able to occupy the space of the narrative (137).
Conclusion:
Nick Browne's text counters theories of camera placement based on theatrical spectatorship with a theory of an implied narrator and a placing the spectator in a suspended position, neither in the fictional space of the story, nor the perspective a purely passive viewer, similar to the perspective of the reader of a book. His theory has the ability to bridge cinematography and literature, but it certainly does not apply to several newer platforms. The Vive, for example, has narratives wherein the spectator can alternate between the fictional space of the story with an have an active or passive role.

Goose Facing Window

Point Animation Awning

I have re-sculpted the awning using the Point animation method described here
http://www.digitaltutors.com/tutorial/1878-Creating-an-Animated-Paper-Folding-Effect-in-Maya
The point animation uses linear animation (the points go from one to the next in a straight line; not a curve), but I do not have the gimbal lock problem, and I think the new angles look better from the final perspective.