For over one hundred years photography and film were the leading media. From the start they served not only to inform and entertain but were also media of scientific research and documentation. That's also why these reproduction techniques were associated with the notions of objectivity and contemporaneity - whereas images created by drawing and painting indicated subjectivity and the transrational. Apparently today computer animation is taking the lead.
Our subject is the development and creation of digital animation. If, for example, a forest has to be covered in foliage, the basic genetic growth program will be applied, so that "trees with fresh foliage", "a forest in which some trees bear 4 week-old foliage, others 6 week-old foliage" can be created. The more generative algorithms are used, the more the image detaches itself from the appearance as found and becomes an ideal-typical.
Using the example of trees and bushes, water, fire and clouds we compare the development of surfaces and colorings over the past thirty years in computer animation images. We want to document reality-effects such as reflections, clouds, and smoke in their evolutionary history. (Harun Farocki) |
1944 born in Nový Jicin (Neutitschein), in the then German-annexed Czechoslovakia. 1966-1968 studied at the German Film and Television Academy Berlin (West). 1966 married to Ursula Lefkes. 1968 birth of daughters Annabel Lee und Larissa Lu. 1974 - 1984 author and editor of the journal Filmkritik in Munich. 1998 - 1999 Speaking about Godard / Von Godard sprechen, New York / Berlin (with Kaja Silverman). 1993-1999 visiting professor at the University of California, Berkeley. 2001 married to Antje Ehmann. Since 1966 over 100 productions for television or the cinema: children's television, documentary films, film essays, story films. Since 1996 numerous group and solo exhibitions in museums and galleries. 2007 at documenta 12 with Deep Play. Since 2004 guest professor, from 2006 to 2011 full professor at the Academy of Fine Arts Vienna. |
