Regulus
2015
Generative animation, indeterminate length
With the support of DICRéAM and DRAC Ile-de-France
Generative animation, indeterminate length
With the support of DICRéAM and DRAC Ile-de-France
Regulus is a generative animation film by moving, in a choreography of abstract forms, thousands of intimate photographs automatically retrieved on the web. In constant evolution, the video is built gradually by adding new images taken from sites like Flickr, Instagram or Google Images.
Analyzed and discriminated according to formal and colorimetric criteria, these photographs - as so many frames constituting the film - are associated appropriately, so as to show a fluid sequence of movements. The editing reveals other possible frame rates, and of the flow of this heterogeneous visual material emerges a round shape changing color and moving slowly, as a breath.
The visual rendering, in its commitment to offer a powerful sensitive motion, refers directly to the works of Oskar Fischinger, Stan Brakhage or Len Lye. But in contrast to Len Lye, who claimed a « direct cinema », a direct intervention on film without going through the stage of the camera, Regulus is to reuse thousands of photographs of different objectives, bringing them in one visual material flow by their color space. From this form of abstract narrative emerges a second reading through the residual parts of the images. In almost subliminal flashes are revealed moments of life, intimate and personal, where the amateur photogenic is necessarily familiar to us. These photographs of connected people are perceived in filigree, as in a dream; crossing the gaze of thousands of individuals, Regulus questions significantly the use of personal image databases.
The visual rendering, in its commitment to offer a powerful sensitive motion, refers directly to the works of Oskar Fischinger, Stan Brakhage or Len Lye. But in contrast to Len Lye, who claimed a « direct cinema », a direct intervention on film without going through the stage of the camera, Regulus is to reuse thousands of photographs of different objectives, bringing them in one visual material flow by their color space. From this form of abstract narrative emerges a second reading through the residual parts of the images. In almost subliminal flashes are revealed moments of life, intimate and personal, where the amateur photogenic is necessarily familiar to us. These photographs of connected people are perceived in filigree, as in a dream; crossing the gaze of thousands of individuals, Regulus questions significantly the use of personal image databases.
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