In continuing discussion around filmography, I ventured into something exciting recently. I earlier thought about filmography quite abstractly and non-concretely, such as here and here. Though there is no end to such questions, I made a film recently which brought many themes from these posts live.
The movie is here.
The key bit in this movie is from 0:53 to 1:33.
The process involved creating a series of AI generated frames with varying (increasing) order of death/life ratio. The "death" essence refers to images where the interpretation is that the face-like sculpture tends towards an explosion, and the "life" essence refers to the images where the face-like sculpture is more static, alive, and like life. The key bit was intermixing a set of 20 images (with different degrees of death/life ratio) in the background with 3D renders of the sculpture (created using Photogrammetry). The 3D renders of the sculpture are less life-like compared to the face-like sculpture (which in fact is very morphed version of the real sculpture built by Binghui Song). The mathematical sequence of the addition of face-like AI generated images is in a quadratically decreasing time gaps, which gives the viewers an immediate sense of the explosion. A 5 seconds of gap before the "final explosion" makes the final frame feel like more loud than what I thought it would give, hereby, classifying this as an "art piece", built from philosophical and artistic foundations, I think that this has completed the objective that I had set forth for myself.
A countless other questions remain:
1. What is the durability of such an artform? Can it survive few decades, if not centuries?
2. How to perfectly document the aestheticization of politics around this art, because of the fact that the creation was aimed for presentation at COP29, Baku?
