The general definition of animation has over again become problematicparticularly with the advent of digitally generated moving images. Theseproblems are mostly due to a new character of digital images, which areno longer exclusively associated with the index of their photographicrecord and their real-time movements, but are extensively generated fromdigital data. Regardless of profound changes over the last couple ofdecades in our media environment, animation is still concerned about“how to create motion,” which is inevitably related to both our methodsof artistic expression and our perception of the world, i.e., “how togenerate emotion” in a fundamental way. This study, therefore, aims toinquire into what “makes senses” of animation in the age of digitalimage, which provides another state of sentience. In order to furtherexplore the issue of senses in the animation image, I will examine twomain epistemological foundations of the sense of animation, whichincludes the concept of motion and body in the combination of atraditional and digital respect. Considering it is only at the starting point of my research, this paper will present brief epistemological remarks onthe subject, “writing e/motion,” which is expected to efficiently reveal thekinetic and corporeal nature of animation image beyond the time.
