A three-dimensional sequence is generated from raw data. The rendered sequence is projected onto the original scene in the program, rendered again, and projected once again as a shadow map. In this final step, the rendered image is also applied as a texture on the objects in the scene. This repetition produces superimpositions of light, shadow, structure, and perspective, which leads to doubling, deviations, errors, and erasures at various levels, which in turn, feed into the process as aesthetic information. The result is a clouding of the three-dimensionality, an imaginary, unstable, fleeting space, which through continual change steadily constructs, and simultaneously deconstructs new definitions of its components.
The peculiar feature is that the lines do not simply form areas or bodies, and thereby shape an outside, but instead, are in motion internally; they vibrate, flutter, pulsate, and switch from white to black, evoke dynamics that seem to run contrary to the arrangement of the elements. The patterns that they form paradoxically appear as “organic geometries”; they are in vital unrest, are unstable and infinite. It seems necessary to speak of a “negative vitalism” that causes permanent production, generation, and dissolution, disappearance so that an “aversion” is imposed on the sensory perception whereas thinking (about) these arrangements mediates “desire.” It is a separate world that generates itself on/from the black panels, one moved by inestimable proportions and relative strengths, by the sublime, which (and Kant could not have known) becomes manifest in the processes of data processing. Thus emerging far beyond the pure relations of numbers is a “mathematic sublime” in the observation of these numerical-digital images. Visible is not a sensual form, but rather, generative work on geometrical elements and the shadows they leave behind.
Translation: Lisa Rosenblatt
A white line runs vertically through the screen in tune to a creaking tapestry of noise. Objects and grids are born of the interplay between image and sound – they mutate, inter weave, conceal and blend on numerous levels. Within this oscillation, imaginary, shifting spaces are (de)constructed; technominimalism in full flight.
(Diagonale Catalog, 2013)
Lobende Erwähnung One Day Animation Festival 2012 (Award)
Begründung: Gunter Damisch
Voidov von Manuel Knapp ist ein überzeugendes Beispiel für Techno-Minimalismus in letzter Konsequenz, für einen Begriff von filmischem Denken an der Grenze von
Komposition, Konzentration und kühler Extase. Die Schnittmenge von Film, bildender Kunst und experimenteller Musik ergibt ein pulsierendes Kunstwerk, das detailverliebt keine Gnade kennt.