ABDUCTION! Shackled by Light Rays on a Death Train, Viz, speeding toward an unknown destination, phases in and out of consciousness as Blood Flowers infect his mind. Memory is manipulated and his identity scanned by an ominous presence. Viz is identified and as a target for extermination by the mysterious Forces of Hate. . .
"In the case of The Third Rail, the images driving the loose narrative are medieval in origin. Torture, altered states of mind; the human body twisted and disintegrated to another tier of existence were major themes of the Middle Age art and the intersection of religion.
Abduction, death and transformation are made manifest as a vivisection of our culture. Since the start of the new century, the world has again been pervaded by those old extremes through old media and certainly new media on the internet with terror snuff. If the Third Rail has any conscious meaning, it is a return to the old medieval paradigm in a new hypnotic shell."-Edward Quist
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.]