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Which clippings match 'Traversed' keyword pg.1 of 1
26 NOVEMBER 2015

Inventive paper folding parkour animation

"The brief was to create a visual reaction inspired by a chosen sub-culture, in this case, Parkour. Parkour is an urban ‘free-running’ discipline, originated from France. Its aim is for its traceur to overcome obstacles within the path, by adapting physical movement to traverse the urban environment, using physical abilities like jumping and climbing. The intention of this animation is to capture the movement and physical beauty of the traceur while traversing through the environment. This viral is aimed to create an awareness for parkour as an artform, rather than a sport. Credits to Noel Lee for filming and editing, and lecturer Kevin Barrios for the inspiration"

(Serene Teh, 2010)



2010animation technique • climbing • creative experimentsdesign craft • Dr. Dre • drawing on paperflip book • free-running • hand-drawn illustration • jumping • Kevin Barrios • line drawing • motion study • movement in space • navigating by movement • Noel Lee • overcome obstacles • paper animationpaper folding • parkour • pen and inkquadruped animationquadrupedal movementrap • rolling • running • Serene Teh • stepping out of the framestudent project • swinging • technical pen • traceur • traversedurban spaces • vaulting • women illustrators


Simon Perkins
08 OCTOBER 2003

Readerly Texts and Writerly Texts

"Arising from work done during a seminar in the late 1960's, Roland Barthes's S/Z, which was first published in 1970, enacts a hypertextual reading of Honore de Balzac's short story, 'Sarrasine.' In S/Z, Barthes makes the distinction between readerly texts and writerly texts. The readerly text presents a smooth, linear reading where the reader is essentially passive. The writerly text, however, is nonlinear, made up of a infinite plurality of meanings and makes 'the reader no longer a consumer, but a producer of the text' (4). Translated from the French words, lisable and scriptable, the readerly and writerly texts delineate the distinction between 'classic' and modern works. As Barthes writes:'The writerly text is a perpetual present, upon which no consequent language (which would inevitable make it past) can be superimposed; the writerly text is ourselves writing, before the infinite play of the world (the world as function) is traversed, intersected, stopped, plasticized by some singular system (Ideology, Genus, Criticism) which reduces the plurality of entrances, the opening of networks, the infinity of languages'.Classic textuality (the readerly) is embodied in Balzac's 'Sarrasine,' and modern textuality (the writerly) is seen in Barthes's re–reading and re–writing of 'Sarrasine' in S/Z. Essentially through his reading of 'Sarrasine,' Barthes explodes the illusion of unity and wholeness that Balzac's tale presents. As Barthes writes, he 'interrupts' the text to 'star' it or cut it up in to (supposedly arbitrary) lexias or fragments. Each fragment is a 'space in which we can observe meanings' in their plurality. Hence each of these fragments constitutes a paper–version of hypertext. As Barthes writes: In this ideal text, the networks are many and interact, without any one of them being able to surpass the rest; this text is a galaxy of signifiers, not a structure of signifieds; it has no beginning; it is reversible; we gain access to it be several entrances, none of which can be authoritatively declared to be the main one; the codes it mobilizes extend as far as the eye can reach, they are indeterminable. . .based as it is on the infinity of language."
(Angela Mitchell, English Department at the University of Georgia)

1). Roland Barthes (1975). 'S/Z'. London, Jonathan Cape.


Angela Mitchell • hypertext • intersected • lisableneologismnonlinearplasticisedpluralityreaderly textsRoland Barthesscriptible • stopped • traversed • UGA • University of Georgia • writerly texts

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