The 3D animation “Sculptures” provides a view into a deserted, probably transhumanist world. The actors – each a combination of technology and fragments of cultural achievements – interact in such a way that it is unclear whether they are in a conflict or whether they are exchanging information. The movie unites various themes in a coherent story.
The lonely wanderer, an American diner, shifted spatial and temporal dimensions, progress, melancholy, moral pathos, images of salvation and other art-historical references – Sculptures combines them all into an aesthetic program, which could illustrate a time after the technological singularity.
Order (Chapter three)
Computeranimation, 9-25 min, 2014
music by AESTATE
In production for almost one and a half years, the cycle titled „order“, which explored different cineastic, acoustic and narrative archetypes, comes to an end in a surreal utopia.
Organic sculptures, newly created human beings, Android decision-making units and a nuclear catastrophe paint a picture of a discontinuous world.
Order (Chapter two)
Computeranimation, 7-02 min, 2014
The three channels of „order (chapter two)“ shift between classic landscapes, science fiction and mythic tales. This chapter seizes the symbols from the first chapter and connects them in a non-linear narrative.
The simultaneousness of the channels represents the entanglement of the different dispositions. They are induced by each other but also confine each other.
Order (Chapter one)
Computeranimation, 5 min, 2013
Four synchronously moving architectural visualisations deliver insight into the entanglement of architecture and utopia and mark the beginning of the „order“ cycle.
The film reveals the microstructure of the series gradually becoming the macroperspective, thereby building an arch between the two counterparts.
Computer Animation, 6-45 min, 2012
In his work „Kritik der ästhetischen Urteilskraft“, Immanuel Kant devised the theory that in a human’s ability to evaluate beauty, also lies his fundamental power to deliver a moral (ethical) judgement. s.c.a. perambulates the structure of these ideas and extends or infuses
(contaminates) them with a mythical cultural progression. The animation exemplifies the parallelisation of the kantian principle, which is formulated in hopes of universality and expansion, by overburdening this principle with the instrumentalisation of cultural ambition.
Computer Animation, 5.30 min, 2013
„As a means of self-preservation, man claimed the right to aquire potentially unlimited inventories for himself. The universal had given this realm of rights to the children of men.
The progression of his binarity, and the work of his periphery, we may say, are properly his. (…) As soon as the binary is added to the share, it is more than the universal had projected it to be.
Computer Animation, 7.35 min, 2011
First of all the title refers to the so-called „zwitterions“, molecules which are notable for having positively as well as negatively charged particles.
The metaperspectives then provide the beholder/observer with a degrading view from below and the simultaneousness of the, to some extent diverging frames/channels provide metaperspectives on the momentum of progress itself.
Computer Animation, 5-48 min, 2010
Gewicht: 4mg, Beschaffenheit: amorph, Grösse: vier mohngrosse Steine, Farbe: ründliche Form, raue Oberfläche, Verhalten beim Zerkleinern: mittelhart, Nachweisbar sind: Calcium ++; Carbonat ++; Phosphat ++; Oxalat +
Beurteilung: Hauptsächlich aus Calcium-Carbonat-Phosphat (Carbonatapatit) bestehender Stein mit Calciumoxalat (Woddelit-Form) als Nebenbestandteil
Computer Animation, 7-16 min, 2009
Der Begriff wird vornehmlich für heidnische Anlagen, als Abgrenzung zu den christlich definierten Katakomben verwendet. In der Fachliteratur wird der Ausdruck auch im christlichen Kontext benutzt. Die Zeitspanne reicht von der Steinzeit bis hin zur Römerzeit.(…)“