Summary Confronting the unfruitful and insufficient notion of matter as “dead”, inert, and immobile is a growing acknowledgement that medieval materiality was empowered and enlivened by animation. This was not least the case in tangible images moved or mobilized by their inherent anima. Imbued with agency, power, personhood, spirit, life, and corporeality, pictures and sculptures would set themselves in motion and do things to us, act upon us, respond to our physical presence with material manifestations of life in the image. This article discusses animation as a (if not the) fundamental way of encountering medieval imagery and proposes a general model or taxonomy of animation, which comprises the basic modes or operative principles of magical animation, mechanical animation, and phenomenological animation. The “call of the image” could be invoked by cult and animism (magically), be enacted by performance and manipulation (mechanically), or be experienced by the viewer’s own investment in the image (phenomenologically).

中文翻译：

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生命的物质和生命的图像：向物质媒体中的动画理论迈进

结束语面对物质的不成熟和不足的概念，即“死”，惰性和不动产，人们越来越认识到，中世纪的物质性是通过动画赋予力量和活力的。在其固有的动画所移动或动员的有形图像中尤其如此。图片和雕塑充满了代理，权力，人格，精神，生活和肉体，将使自己动起来，对我们做事，对我们采取行动，以图像中生命的物质体现来回应我们的身体存在。本文将讨论动画作为一种与中世纪影像相遇的基本方法，并提出动画的通用模型或分类法，其中包括魔术动画，机械动画和现象学动画的基本模式或操作原理。