аЯрЁБс>ўџ 68ўџџџ5џџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџьЅС5@ №П‘bjbjЯ2Я2 )­X­X‘џџџџџџˆкккккккюВВВВ О юGњжжжжжжжж ƒ ƒ ƒ %Ј 8Ш$AR“6ькжжьккжж! ! ! Žкжкж !  ! (! I ккI жЪ €Ѕ}ИJІХВ‘XI e 0GI Щщ"ЩI ююккккЩкI жЪ ! 0tЄ_жжжььююФВ ююВPolitical Documentary Meets Seventeenth Century Rave Video HELIOCENTRUM Electronic Cinema on a Desktop The French king Louis XIV may seem like an unlikely subject for a computer animation about modern media technology, but that's the idea behind an unusual film which has been touring the festival circuit. Made by two media artists Jason White and Richard Wright, "Heliocentrum" is described as a cross between a political documentary and a Seventeenth Century rave video. Although its tour de force of state-of-the-art computer graphics techniques make it look like it was produced by a high-tech facilities house, the twelve minute long film was actually made entirely on desktop PCs using a mixture of standard packages such as 3D Studio and the artists own software. A huge range of digital imaging techniques were used including 2D and 3D computer animation, image processing and some very exotic special effects software created by the artists. But as they explain dazzling computer graphics need not be just a cosmetic gloss added to spice up an otherwise dull documentary. In "Heliocentrum" the visual impact of the film is both a reference to the culture of the Baroque monarchy and a device with which to seduce the viewer. "'Heliocentrum' is an attempt to find historical precedents for digital culture which can help us understand our current addiction to flashy electronic imagery", says Wright. Louis XIV is famous for creating his huge purpose built palace at Versailles from which he established his Absolute Rule which dominated most of Europe in the seventeenth century. Louis controlled his courtiers by forcing them to live in this enclosed environment effectively isolated from the real world. "In Versailles, Louis XIV had realised a 'technology of leisure', a kind of virtual reality machine in which his courtiers became enslaved to pleasure", explains White. Louis took the name the "Sun King" as a symbol of his glory which radiated power in all directions and nourished all parts of the kingdom. The title "Heliocentrum" comes from the word "heliocentric" meaning "sun centred". In the film, Versailles is represented as a galaxy of technologically enhanced marvels, expressed through a mixture of fantastic Baroque decoration and feel-good video effects. As well as being technically eclectic, "Heliocentrum" experiments by mixing together different styles and genres. Courtiers, sampled from a 1920's Rudolf Valentino movie, are placed in a computer generated environment more reminiscent of 'Blade Runner'. In a later scene, shots sampled from Despite TV's cult video of the Poll Tax riots are weaved into a virtual diorama of London, in which the focus has been shifted from Versailles to Canary Wharf and the modern power of media technology. The soundtrack was produced by Walter Fabeck who complements the baroque decor with dense electronic versions of chamber music which rise in tempo to a pounding techno finale. "Heliocentrum" was produced through the ANIMATE! scheme, run by the Arts Council of England and part funded by Channel Four to encourage innovative and experimental new animation projects. Twenty-nine films have been commissioned to date, and the work is showcased in Channel Four's celebrated Fourmations series. "The good thing about the ANIMATE! scheme is the freedom it allows you by not having a high pressure deadline to work for", say the artists. "We couldn't afford to employ a big studio to work on 'Heliocentrum', so it took us nearly two years to make." Wright is now working on another ANIMATE! funded production called "LMX Spiral", which he describes as being about "the transition between the enterprise culture of the eighties and the lottery culture of the nineties". White is currently animation consultant to leading digital media company Studio Fish, working on a major realtime 3D game. 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