Generative software process; 2012, Dimensions variable
Prints made from the same system anf.nu/schwarm
SCHWARM is a generative process.
The software uses a swarm of particles to gradually create an abstract
composition based on a series of photographs.
The drawing agents behave according to a set of rules, but have a
degree of autonomy. Each time the software is being run it produces an
infinite sequence of unique images over time.
The setting was already intriguing. A Greek from Pontus, living in Athens is a luthier of some of the best Spanish guitars. His name is Vassilis and he is not only an accomplished luthier but also a charming human. We spend 3 days with him in his small and packed lab in Athens, where we learned a lot, laughed a lot and in general had a great time. The end result combined with the music of Edstard left everyone more than satisfied.
Pedazos de madera, amor, esmero, celo, conocimiento y 299 horas de trabajo, concentradas en una película de algo más de 3 minutos.
La serie “The Art of Making” pretende mostrar y promocionar a gente de nuestros días que, superando el fatalismo y el pesimismo del espíritu contemporáneo, se atreven, con pasión e imaginación, a seguir soñando y creando. Estos amantes del conocimiento y de la emoción, intentan combinar la organización y la precisión de la ciencia con la elegancia, la sutileza y el ingenio del arte. Su oferta es de un valor incalculable y se lo agradecemos profundamente.
Dirección y VFX: Spiros Rasidakis y Dimitris Ladópoulos
Dirección de fotografía: Níkos Mexis
Edición: Yiannis Kostavaras
Diseño Acústico: Nikos Tsines
Guitarrista y compositor: Edsart Udo de Haes edsartudodehaes.nl
Constructor de guitarras, luthier: Vassilis Lazarides lazaridesguitars.com
Role: Art Direction, Design, Animation, Compositing
Date: February 2010
Format: Short Film 1024*576 Widescreen Pal
Sound: ECHOLAB Gavin Little
Nokta . (Dot .) is an abstract short film project which is an improvisation of organic pieces and themes like power, control and luck. Using low-budget equipment and with the combination of actual camera shooting, 2d and 3d animation techniques, the film alters the reality and physics of the real world with the help of the liquid and dynamic simulations’ impact.
Even though the film is not produced according to the base of Amos Funkenstein’s text on harmony, but the text is a convenient statement for the stylistic and representational behaviour of the film.
'I see some correspondence between the foundation of universal harmony on elliptical orbit and the predilection for the elliptic forms in Baroque architecture. In both cases harmony is still defined as unity within multiplicity, but it ceased to be static, namely, harmony expressed in one ideal geometrical form, and became so to speak dynamic. What was previously regarded as the deviation from the ideal form, was comprehended for the first time as an integral part of the form, or form of forms, which are capable of endless transitions one into another. ' [Amos Funkenstein, The Dialectical Preparation of Scientific Revolutions. On the Role of Hypothetical Reasoning in the Emergence of Copernican Astronomy and Galilean Mechanics.]
PostPanic director Mischa Rozema's new short film, Stardust, is a story about Voyager 1 (the unmanned spacecraft launched in 1977 to explore the outer solar system). The probe is the furthest man-made object from the sun and witnesses unimaginable beauty and destruction. The film was triggered by the death of Dutch graphic designer Arjan Groot, who died aged 39 on 16th July 2011 from cancer.
The entire team at PostPanic (the Amsterdam-based creative company) pushed themselves in their own creative post techniques to produce a primarily CG short film crafted with love.
The film's story centers on the idea that in the grand scheme of the universe, nothing is ever wasted and it finds comfort in us all essentially being Stardust ourselves. Voyager represents the memories of our loved ones and lives that will never disappear.
From a creative standpoint, Rozema wanted to explore our preconceived perceptions of how the universe appears which are fed to us by existing imagery from sources such NASA or even sci-fi films. By creating a generated universe, Rozema was able to take his own 'camera' to other angles and places within the cosmos.
Objects and experiences we are visually familiar with are looked at from a different point of view. For example, standing on the surface of the sun looking upwards or witnessing the death and birth of a star - not at all scientifically correct but instead a purely artistic interpretation of such events.
Rozema says, 'I wanted to show the universe as a beautiful but also destructive place. It's somewhere we all have to find our place within. As a director, making Stardust was a very personal experience but it's not intended to be a personal film and I would want people to attach their own meanings to the film so that they can also find comfort based on their own histories and lives.'
Rozema turned to his regular audio partner, Guy Amitai, to create the music for the film. 'I approached Guy to make the music because I trust him and knew he would instinctively understand what I wanted to communicate with this film.' Their long-term collaboration over the years helped them explore different musical approaches before finally settling on a musical journey featuring analogue instruments. Amitai explains, 'Once we started working on this project and I told people about Stardust and what Arjan meant to us all, the offers started pouring in. Musician friends and friends-of-friends all wanting to join in and record even the smallest parts. It was an incredibly emotional and personal journey for us all - not something you can professionally detach yourself from.'
The track is now available for purchase, with all proceeds going to the KWF (Dutch Cancer Society)
Download the song here via iTunes: http://tinyurl.com/a6j2f34
A PostPanic Production
Written & directed by Mischa Rozema
Produced by Jules Tervoort
VFX Supervisor: Ivor Goldberg
Associate VFX Supervisor: Chris Staves
Senior digital artists: Matthijs Joor, Jeroen Aerts
Digital artists: Marti Pujol, Silke Finger, Mariusz Kolodziejczak, Dieuwer Feldbrugge, Cara To, Jurriën Boogert
Camera & edit: Mischa Rozema
Production: Ania Markham, Annejes van Liempd
Audio by Pivot Audio , Guy Amitai
Featuring "Helio" by Ruben Samama