![]() They reunite perception and material reality by treating the camera and the world as parts of a single system. Waliczky’s works, however, refuse this separation of cinematic vision from the material world. If in cinema the camera functioned as a material object, co-existing, spatially and temporally, with the world it was showing us, it has now become a set of abstract operations. In the process of this translation, cinematic perception is divorced from its original material embodiment (camera, film stock), as well as from the historical contexts of its formation. Berkeley: University of California Press, 1998.) ![]() As computer culture is gradually spatializing all representations, they become subjected to the camera’s particular grammar of data access: zoom, tilt, pan and track.( I develop this analysis in more detail in “Cinema as a Cultural Interface,” In Arresting Movements: From Pre-Cinema to DigitalCulture, edited by Jan Olsson. A camera-like interface became an accepted way for interacting with any data represented in three dimensions - which, in computer culture, means literally everything: from the results of a physical simulation to architectural sites the design of a new molecule financial data the structure of a computer network, and so on. #Enter the vortex art of illusion windows#For instance, in the last decade, the cinematic camera became as much of an interface convention as scrollable windows or cut-and-paste functions. One of the trajectories in the computerization of culture involves the gradual translation of the elements and techniques of cinematic perception and language into a decontextualized set of tools to be used as an interface to any data. Therefore, although all of Waliczky’s works are concerned with the same aesthetic problem, they are also fundamentally different from each other, because each world is structured in its own unique way. In “The Forest” the world is like a mechanical clock or a system of planets, with all the elements continuously moving according to a complex set of rules, while in “Landscape” the world is immobile, fixed once and for all. Each of his worlds establishes a cosmology of its own, a unique logical system that governs all of its elements. In his concern with ordering every world according to its own principle, Waliczky can be also compared to ancient cosmologists. In “Landscape,” time in this world has been frozen in “Sculptures,” it consists of three-dimensional time-sculptures, while in “Focus,” we enter a world whose ontology is derived from the basic quality of a digital image, structured as a number of layers. In every one of his works, he creates a world structured in a unique way and then he documents that world for us. ![]() Rather, he can be described as a maker of virtual documentaries. Waliczky therefore is neither a virtual filmmaker who works only with images nor a virtual architect who works only with space. The interactions between the virtual camera and the virtual world form the main subject of Waliczky’s aesthetic research. New media artist Tamás Waliczky systematically maps out a crucial part of post-computer aesthetic practices, creating new ways to structure the world and new ways to see it. Image and viewer, narrative and montage, illusion and representation, space and time - everything needs to be re-defined again. What used to be a well-mapped territory is now an amorphous and ever-changing territory. The new media forces us to re-think every single one of our traditional aesthetic concepts, forms and techniques. That is to say, all of Waliczky’s works are the result of a single systematic aesthetic investigation. ![]() In his new pieces - “Landscape,” “Sculpture,” “Focus,” the strategies that were already central to “The Garden” (1992), “The Forest” (1993) and “The Way” (1994) are further developed and new ones are being deployed yet, taken together, these six works look like different experiments undertaken within a single research paradigm. Tamás Waliczky is among the few artists who have been working with and thinking about the computer for many years, long before it became fashionable, and this depth of involvement can be clearly seen in his works. Karlsuhe: Zentrum für Kunst und Medien, 1988. Zentrum für Kunst und Medien digital arts edition 1. ![]()
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