В статье рассматривается проблема экспериментальных методик в современной казахстанской анимации. Распространенные публицистические формулы – отождествление экспериментальности с нестабильностью производственной инфраструктуры национальной анимации либо, напротив, утверждение о почти полном отсутствии экспериментальной анимации в Казахстане – оцениваются как методологически недостаточные. Выдвигается гипотеза, согласно которой в казахстанской анимации отсутствует не эксперимент как таковой, а два связанных условия его развития – устойчивая система описания, педагогической передачи и институционального закрепления экспериментальных методик и критическое освоение заимствованных визуальных моделей – от аниме-кода до фестивального формата – в собственный художественный язык. Особое место занимает вопрос национального: национальное предлагается рассматривать не как тематический «колорит», прилагаемый к готовой анимационной форме, а как переменную эксперимента – материал, изменение которого может перестраивать структуру произведения. Для анализа гипотезы вводится аналитическое разграничение трех уровней (экспериментальный прием, практика, методика) и формулируется операциональный пороговый тест из восьми критериев. На основе этой рамки анализируется институциональное поле современной казахстанской анимации, а также рассматриваются анимационные проекты «Қазақанимации» как примеры локализованного художественного поиска. Делается вывод о том, что в Казахстане сложились производственные, образовательные и фестивальные предпосылки для развития экспериментального направления, однако ключевой дефицит сохраняется не только на уровне методической институционализации, но и на уровне критического освоения внешних эстетических и индустриальных влияний. Именно на уровне методической институционализации решается, становится ли национальное переменной эксперимента, сознательно ослабляется и используется как рамка для иной темы или остается декоративной маркировкой.
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