NON TRADITIONAL RESEARCH OUTPUTS
ERA ELIGIBILITY AND QUALITY IN THE CREATIVE ARTS
Example J. (Film/Animation)
J has been exploring a combination of the traditions ofChinese brush painting with traditions of Western animation. In particular, he has been using stop-frame capture of his paintings on glass to build highly atmospheric animations with seamless movement. Using this time-intensive process, J has only produced very short animations of twenty or thirty seconds duration and two of these have been shown in two online exhibitions during 2014. In 2015, J shows a new animation at a short film festival event at GFS. Also in 2015, J makes up a four minute composite animation using the three short films and uploads this to Youtube. This results in 200,000 views and high praise from two international film critics along with a commission for J to produce a new animation for exhibition in the TateGallery in London. J has entered the two 2014 online exhibitions of his animations as (S2_5) Website/web exhibition and(S2_1)Film/Video for the 2015 public screening at GFS. The 2015 Youtube showing cannot be entered on the portal, if only because all three animations in the composite have already been claimed as outputs. Nevertheless, the significant response to the work prompts J to make up a portfolio (S1_5), which brings together the three minor outputs already entered on the portal. The documentary evidence of the response to the composite animation on Youtube (including a PDF format copy of the letter of invitation from the Tate curator) can be used to support the claims for significance of the work in the research statement that is developed to accompany the portfolio.