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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
Nokta .
Onur Senturk
Original: Konzept Skizze | 3496 * 1744px | 6.6 MB
Original: Konzept Skizze | 3496 * 1744px | 7.4 MB
Original: Nokta Still | 3508 * 1981px | 598.1 KB
Original: Nokta Still | 3508 * 1981px | 542.7 KB
Original: Nokta Still | 3508 * 1981px | 625.3 KB
Original: Nokta Still | 3508 * 1981px | 622.9 KB
“Nokta .” (Dot .) is an abstract short film project which has a creative, distinctive style of production and is an improvisation of organic pieces while considering themes such as power, control and luck. Using low-budget equipment and with the combination of actual camera shooting, 2D and 3D animation techniques, the film alters the reality and physics of the real world using liquid and dynamic simulations.
Even though the film is not produced according to Amos Funkenstein’s text on harmony, this is nevertheless a convenient statement for the stylistic and representational behavior of the film. “I see some correspondence between the foundation of universal harmony on an elliptical orbit and the predilection for the elliptic forms in Baroque architecture. In both cases harmony is still defined as unity within multiplicity, but it ceased to be static, namely, harmony expressed in one ideal geometrical form, and became so to speak dynamic. What was previously regarded as the deviation from the ideal form, was comprehended for the first time as an integral part of the form, or form of forms, which are capable of endless transitions one into another.“ (Amos Funkenstein, “The Dialectical Preparation of Scientific Revolutions: On the Role of Hypothetical Reasoning in the Emergence of Copernican Astronomy and Galilean Mechanics.”)
Even though the film is not produced according to Amos Funkenstein’s text on harmony, this is nevertheless a convenient statement for the stylistic and representational behavior of the film. “I see some correspondence between the foundation of universal harmony on an elliptical orbit and the predilection for the elliptic forms in Baroque architecture. In both cases harmony is still defined as unity within multiplicity, but it ceased to be static, namely, harmony expressed in one ideal geometrical form, and became so to speak dynamic. What was previously regarded as the deviation from the ideal form, was comprehended for the first time as an integral part of the form, or form of forms, which are capable of endless transitions one into another.“ (Amos Funkenstein, “The Dialectical Preparation of Scientific Revolutions: On the Role of Hypothetical Reasoning in the Emergence of Copernican Astronomy and Galilean Mechanics.”)
Art Direction, Design, Animation, Compositing: Onur Senturk, Turkey; Music, Soundfx: Echolab | Gavin Little, Ireland; http://www.echolab.tv
Onur Senturk (TR) is a freelance designer and director. He studied traditional painting and figure
drawing followed by a traditional animation degree as his BFA. He took part in several international and national collaborative exhibitions with works in both print and time-based media. He co-directed Iskat, which won the Best Experimental Short Film Award in 13th International Golden Cocoon Film Festival in 2006.
drawing followed by a traditional animation degree as his BFA. He took part in several international and national collaborative exhibitions with works in both print and time-based media. He co-directed Iskat, which won the Best Experimental Short Film Award in 13th International Golden Cocoon Film Festival in 2006.