A Guardians Guide to

ANIMATING SPACES

KARTHIKA SAKTHIVEL
DMA; Thesis Paper: Semester 7
Srishti Institute of Art, Design and Technology
24st October 2016

Paper Guided by
Vivek Dhareshwar
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Larry guards the Museum of Natural History armed with nothing but a

flashlight, a set of keys and a seeing mind. Locked within the confines of an

overlooked institution, he unlocks and sustains a thriving community; his lit vision

casting living shadows that flicker and evolve into being upon the stone cold walls,

animating spaces with these characters that have been long proclaimed dead. Raising

them into existence, he gives new meaning to their once impactful lives. Thus his

primal quest for a purpose is proven fruitful, making him the guardian of something

more than just lifeless exhibits in glass cases. Larry has revealed to the world the tip of

an iceberg, irradiating the depths that ought to be explored. The world, intrigued,

flocks with its own flashlights to spend a Night at the Museum - Where History

Comes To Life. 1

The question is how did Larry manage to achieve all this? What secret had he

unlocked? One could say, Its easy to forget that the way we illuminate the world

affects how we see it. (Zorich 2014) Perhaps studying Larrys peculiar way of

illuminating history could bring to light the salient qualities essential to animating

spaces.

Space and history have had an age-old relationship. They are so closely

entwined that one cannot exist without the other. This dialogue amasses a potent

reserve of tales over time, waiting to be told. Introducing animation into any such

space can trigger these untold stories and express them in metaphysical ways. This

would invariably lead to an interaction that promotes preservation, restoration and

revival of culture, history and heritage.

1. Night at the Museum (2006) is an American comedy film based on a book of the
same name by Milan Trenc. This film directed by Shawn Levy starring Ben Stiller, follows the
life of Larry Daley, an appointed night guard at the Museum of Natural History who soon
discovers that all the exhibits on display come to life at night.
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About a hundred kilometers south west of Paris lay the city of Orlans. A quiet,

peaceful town built around the most magnificent Ste-Croix Cathedrale. This brilliant

structure looms majestically over the people of Orlans and that of the neighbouring

regions as they gather before its faade for the annual Ftes de Jeanne d'Arc.2 I was

privileged enough to be there during this festival that celebrates the liberation of the

city by Joan of Arc during the Hundred Years War. One specific event that takes place

during this celebration is the screening of a video upon the frontage of the cathedral.

This sound and light spectacle uses projection-mapping technology to tell the story of

Jeanne dArc, almost playing out the scenes depicted on the stained glass windows that

line the sanctum. The story remains the same yet the means to access it is different,

layering it further with artists representations and depictions. Every year this magical

performance draws quite a large crowd to the central space outside of the monument,

engaging the public and thus encouraging mass dialogue. Having stood through

history, this cathedral has served several functions over time but the role this

monument takes on today is what makes it an urban monument. In the future the

children of today will be likely to associate the space with the communal act of

replaying the past and commemorating it together. This sort of large-scale engagement

between the public and the history of the space is not specific only to this city; as a

matter of fact several monuments around the world have lent their facades to being

representative living screens.

Modern monuments tend to be conceived - and promoted - as Beacons of

Regeneration, Icons of Change or Markers of a New (Parkyn 2000, 102) this makes

them vital driving forces of an all round progressive society. By building upon each

other, they develop. Their makers take into consideration both the past as well as the

2. Festival of Joan of Arc. Joan of Arc was a French warrior who at the age of 18 led
her army to victory against the English. She was known as The Maid of Orlans
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future in order to conceive of an edifice that size and uniqueness apart, hits home.

(103)

Parkyn (2000) has articulated the purpose and nature of a modern monument in
the following quotation:

But the ultimate modern monument serves no purpose at all, or at least not one
which can be defended on the grounds of strict functionality, such as the need
to span a river or keep valuable pictures dry. It exists to entertain, with a tried-
and-tested combination of suspense, surprise and the good old fashioned
'Wow!' factor. (102)

Building monuments with bricks of modern technology such as virtual reality

and 4D tours create a whole new dimension of perception of history. In New Zealand

for example, in order to re-establish a proper connection between culture and

community, the Projection Mapping the Past project uses the faade of the Auckland

Castle to project the film The Rebellious North, that showcases the history associated

with the space (Toussi 2015)

Could this be a means to birth urban monuments? By bringing both old and

new spaces to life through holograms, animatronics and projections, making history

whilst reviving it? And what are the significant factors that aid their design? Lets have

recourse to Larry to clear this up. The following steps cLarrify 3 the key elements that

according to me steered him towards his ultimate achievement: -

1. ENGAGEMENT

Before assuming his role as a night guard Larry found himself job-hopping

relentlessly. He was never really committed to any job he undertook. What I believe he

lacked was a sense of engagement. In fact apart from the monetary benefits he barely

3. cLarrify: To make clear/ shed light on/ illuminate a statement or a situation by referring to
the approach and actions of Larry Daley (Night at the Museum. 2006)
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recognized the need for such engagement. When his relationship with his son grew

strained he came to understand his need for a steady job. It the understanding of ones

own needs that results in earnest engagement. The moment Larry singled out the

necessity to give his son a better future- one that is reliable and rich with experience-

he started to connect with his job, and that is where it all began. Todays guardians of

History must imbibe this sensibility if they aspire to connect, not only with their work

but also with their audience.

In an increasingly imagistic and visually bombarded world such as ours, it can

be said that ones willingness to engage and respond to every other sensory stimulus is

jaded. Young museum visitors whom Anderson likes to call the Nintendo

Generation are likely to be impatient with the unmediated encounter just as they

are with the ineffectual interactive tools they chance upon in their tech savvy worlds.

Hence they would invariably expect a multimedia elucidation of the situation of

objects, thus warming up to the various enhancements that are being made to the

museum experience (Anderson 1999, 144). The future lies in the hands of the young.

Getting across to them will ensure the longevity of what we are trying to preserve.

2. ADAPTATION

Initially Larry was entrusted with an old and tattered instruction manual- a list

of tried and tested methods to stay on top of things when the night unleashes the past at

this fantastical museum. During a struggle we see him losing the manual to an

obnoxious early primate Dexter. The wax figure of Teddy Roosevelt 4 comments that

3. Robin Williams plays the role of Theodore Roosevelt in the film (Night at the
Museum 2006). Theodore Roosevelt who was the 26th President of the United States.
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Without him (Dexter), there's no us. The weight of this comment lies in its timing.

Without the instructions Larry finds himself fumbling through the night, attempting to

restore order. The old rules are no longer applicable. Evolution marks a considerable

shift in the way we function. Oftentimes we find ourselves relying on outdated systems

and irrelevant practices. Mustnt the system evolve as well? Larry needs to up his game

and innovate in order to keep up with the changing times.

Technology could be used as a means to bridge the gap between what we knew

and what we now know. It will undoubtedly play a pivotal role in effective

interactions. Recent developments have resulted in a wide array of applications and

interfaces that enable interactivity. Several centers have started adopting such practices

in order to encourage visitors to engage with exhibits. Museums, the centers of culture,

history and heritage have started making use of augmented reality; virtual reality;

gesture based experiences, interactive projection mapping, location based technology

and 3D printing to facilitate the communication between the exhibit and the visitors,

tapping on their visual literacy (Leeman 2016) For example CAVI in collaboration

with Moesgaard Museum created the interactive part of the temporary exhibition, The

First Emperor Chinas Terracotta Army. This offsite installation brought terracotta

figures to life, demonstrating the fact that the warriors were each hand painted, by

allowing the viewers to customize the attires through digital interaction with a life size

model (CAVI 2015) Similarly these technologies could be animated and implemented

on site. For instance the elements of Architect Antoni Gaudis masterpiece Casa Batilo

in Barcelona use augmented reality to spring to life. From mobile devices when

pointed at windows, swimming turtles emerge, depicting Gaudis natural inspiration

for the peculiarly shaped structures. This kind of interaction allows the visitor to view
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the space as it was before and how it probably looked through the eyes of its maker a

portal of sorts.

However if not treated with consideration the usage of spectacular methods

could easily take away from the essence of the original information. The conduit

ideally ought to urge a rendezvous between the viewer and the aura of the original,

seamlessly mediated by authoritative and rewarding information instead of having

the form overshadow it. The challenge is to grip the audience by enabling the aura to

move, play music and interact through new media interpretations that act as

enhancements and not as substitutions. (Anderson 1999, 145-146)

3. AWARENESS

Larry goes on to recognizing the value of renewed awareness. I wanted to

learn a little bit more about what I'm guarding. he says as he makes arduous attempts

to study the various facets of his wards. Through his studies he derives particular

approaches to address each of his charges.

While studying pieces such as cave paintings reveals the nature of the time

period our early ancestors belonged to, when taken out of the original spatial context

these images lose their depth and dynamism. Zach Zorich in his article Early Humans

Made Animated Art explains How Paleolithic artists used fire to set the worlds oldest

art in motion This rather important aspect of storytelling is something we dont get to

experience, because somehow not much importance is given to understanding and

maintaining the staging (Zorich 2014)

As custodians we must be driven enough to gain knowledge of what we guard,

for it shall prove fruitful while handling them. Larry makes decisions that cater to each
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individual exhibit in his care. He deals with Rexy the T-Rex, Dexter the Capuchin

Monkey, Attila and the Huns, the Easter Head, Teddy Roosevelt, Sacagawea, Jedadiah

and Octavius, each in a specific manner.5 He pacifies them, confronts them and arrives

at compromises that result in overall balance.

Approaching different forms with an informed sensibility could do wonders in

bringing out its various significant aspects, reinstating the need to gather knowledge in

the field of concern.

3. ANIMATION

Derived from this newfound wisdom and awareness, Larry imparts a voice to

the exhibits; he gives them the power of movement. The act, process, or result of

imparting life, interest, spirit, motion, or activity 6 is known as Animation. This makes

Larry an innate animator. The usage of animation as a medium to accomplish this is a

real exploit. For instance Visar Studios collaboration with the Prnu Museum on a

project highlighting the historical events of Estonia weaves together animation and

live-action beautifully to create animated accompaniments to the showpieces displayed

(Studio 2012) One might argue that animation lacks the seriousness that historical

depictions demand and is more likely to be associated with children and comedy. This

however pertains largely to mainstream productions and the masss perception of

animation. There in fact exist several animations that touch upon History, packing as

much seriousness as one would ask of from such a film. It all depends on the context,

content and visual choices made by the animator. Take Ari Folmans intensely

4. A list of a few historic figures that Larry deals with at the museum.
5. Definition of Animation (American Heritage Dictionary of the English Language,
Fifth Edition. 2016. S.v. "animation." from http://www.thefreedictionary.com/animation)
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personal animated war documentary Waltz with Bashir (2008) for example. He has

used animation to touch upon grave matters and it doesnt come off as anything but

serious owing to the screenplay, choice of style, color and sound.

4. LIBERATION

The Dont let anything in or out injunction laid upon Larry by the

Authority illustrates the idea of museums being removed spaces that make History an

exclusive exhibit that paradoxically seeks and demands inclusion. No sooner do the

exhibits break out of the confines of the museum- leaving footprints all over the city-

than the public, wide eyed, seek entrance into the museum that freed History onto the

streets.

There have been several breakthroughs in the existing structures that break

away from such boundaries, allowing for exhibits to be situated in spaces outside of

their acquired homes: -

Nicolas Schoffers introduction of cybernetics into sculpture has widened the

horizons to animating space making it possible to obtain a continually renewed

spectacle from works of art by introducing movement into two-dimensional works

(Habasque 1957, 38) Schoffer produces continually moving wall-paintings by varying

the distance between light sources and his moving-pedestal borne sculptures. (39) This

demonstrates that works of art are no longer fixed and immobile (42) It is no more

the petrification of a privileged moment or aspect, it is a spectacle. In order to access

such work in its entirety, either the object or the spectator must shift their perspectives

(43)

Eric Dyer also, through his piece Copenhagen Cycles attempted to re-define
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existing practices by moving animation away from flatness and into real space by

reviving archaic technology such as Zoetropes, Phenakistascopes, Praxinoscopes &

Cinetropes (Wells 2008) These tactile contraptions would promote physical

interactions between the viewer and the subject, hence making it an ideal spatial

installation.

Deviant thinking such as these could generate a plethora of possibilities- a

library of methods and mediums that can animate spaces thus sustaining culture,

history and heritage.

5. SHARING AND ACCESSIBILITY

When Larrys colleague Rebecca informs him that she is writing a 900-page

dissertation on Sacagawea7 and bemoans, " Research can only get me so far. I'm never

gonna know who she really was all one can see is the glass divide between the viewer

and exhibit that marks the thin line between what we consider the past and the present.

Here inclusivity and exclusivity are perpetually at loggerheads. Larry feels the need to

share his secret in order to provide Rebecca with the knowledge she is entitled to. He

doesnt withhold any material as he grants direct access to the source of information -

rather generously, allowing Rebecca to chat up Sacagawea herself. The breaking of the

glass partition that hinders valuable exchange marks a change in the way one interacts

with exhibits. Making this repertoire of knowledge accessible and sharing it with a

wider range of people goes a long way in preserving it, Id like to refer to this as a

form of pollination.

7 . Sacagawea was the only woman on the Lewis and Clark Expedition into the West
of America. She acted as the interpreter.
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6. PERSISTENCE

Ultimately however what drives the plot is Larrys persistence in keeping the

museums inhabitants alive. This resilience of his is mammoth. He goes through great

lengths to keep them from turning to dust. It is this sense of urgency to preserve that

one must adopt, for it isnt too long before everything we ever knew under the sun, out

of negligence turns to mere dust.

Bestowed with the stewardship that Larry upholds, we must epitomize all that

he stands for, emulating his sheer vision and drive. Now, equipped with a flashlight, a

set of keys and a seeing mind, there is nothing an army of Larrys cant animate back

into existence.
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References

Anderson, Maxwell L. 1999. "Museums of the Future: The Impact of Technology on

Museum Practices." Daedalus 128, no. 3: 129-62.
http://www.jstor.org/stable/20027570.

CAVI, and Moesgaard Museum. 2015. "The Interactive Terracotta Warrior at

Moesgaard Museum." YouTube. (May 08).
https://www.youtube.com/watch?v=E1Ca4E1p0PE.

Habasque, Guy, and Mona Tobin. 1957. "Notes on a New Trend: Multidimensional
Animated Works." Yale French Studies, no. 19/20: 35-44.

Leeman, Jake. 2016. "6 Key Experience Technologies for Museums." VisionThree
(February). http://www.vision3creative.com/6-key-experience-technologies-
for-museums/

Night at the Museum. 2006. Directed by Shawn Levy. Performed by Ben Stiller and
Robin Williams. Beverly Hills, Calif: 20th Century Fox Home Entertainment.

Parkyn, Neil. 2000. "Modern Monuments." RSA Journal 148, no. 5494: 100-03.
http://www.jstor.org/stable/41378975.

Shu, Les. 2015. " Van Gogh vs. Candy Crush: How Museums Are Fighting Tech with
Tech to Win Your Eyes." Digital Trends (May 01)
http://www.digitaltrends.com/cool-tech/how-museums-are-using-technology/.

Studio, Visar. 2012. "Recreating History." Visar Studio.

http://www.visarstudio.com/recreating-history.html.

Toussi, Elham. 2015. "Projection Mapping the Past - The Rebellious North - The
Film." Vimeo. https://vimeo.com/122119450.

Wells, Paul, and Johnny Hardstaff. 2008. Re-imagining Animation: The Changing
Face of the Moving Image. Lausanne, Switzerland: AVA Pub.

Zorich, Zach. 2014. "Early Humans Made Animated Art: How Paleolithic Artists Used
Fire to Set the Worlds Oldest Art in Motion." Nautilus. Issue 011 (March 27)
http://nautil.us/issue/11/light/early-humans-made-animated-art.