onedotzero 2010 highlights

MAX-HATTLER_1923akaHeaven003I’m sure many of you headed to the onedotzero festival this weekend, but for those who couldn’t make it, or fight through the Lord Major’s show crowd, here are some highlights chosen from the studio.

The Quayola installation, Strata #3 was fantastic, a visual exploration into classical paintings, explored through expressive digital textures. Parts of the painting are pulled apart and fragmented, creating a hypnotic effect which makes you consider the colours and forms through new eyes. It has been interesting to see how this project has evolved over the last few years. Read about the project in more detail here. Also installed was the megalolz (in a good way) Cassette Playa ‘I Can Haz’ gif automator, which we previously saw and reported on at London Fashion Week. Spot your gif on her site.

The Two x Two talk, on the Saturday evening, hosted by Adrian Shaughnessy, Simon Sankarayya and Neville Brody brought up some interesting conversations on the topic on what the graphic designer has become. As we looked back upon the established designers’ early work, we saw how much the industry has changed, as the importance of collaboration across difference disciplines was debated. Proof of this was shown through the introduction of new British talent, photographer Laura Pannack and interactive designer Richard Harvey who stressed the value of being yourself, pursuing personal work at all times and not working towards what you think employers want.

Then of course, what onedotzero does best, the screening programmes. Long running ‘wow + flutter 10’ was a mix of beautiful and abstract animation, alongside character based work and some political and comedy pieces in there too. Max Hattler’s animated piece ‘1923 (aka Heaven)‘, inspired by French outsider artist Augustin Lesage was an incredibly complex and addictive world of machinery and pattern. Another thing to note was the new programme ‘Code Warriors’. It had an information sheet that you could refer to throughout, to see what software was used for each coded animation, an element so simple, but is usually missing from many film festivals and screenings. It was free, keeping in line with the ideology of the open source software the animators are using.

A final word must go out to the BFI’s rich database and archive, where we could spend hours watching movies until the cleaners throw us out.

And for next year. We are all going to book earlier. We promise. And I’ll prove it by showing you the bruises on my shins from kicking myself for missing Bug + NinjaTune.

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