Ooooooh, very excited about this. Making of here. I must have missed the post at Motionographer in 2008. Zeitguised also produce stills, see Misshap Wigs and Concrete Chrome.
I have lots of good things to say about this work - I love the painterly compositions: there’s a whole careers’ worth of imagery in Peripetics, all compressed into just a few minutes. I like the automated animation style - Zeitguised are obviously into the whole Cinema4D ‘No Keyframes’ trend. Who’s to say they didn’t pioneer it? Not sure that Peripetics is fully without keyframes, but it certainly employs automation to some degree. It also fuses the lo-fi automated Processing aesthetic with photoreal rendering to produce something with more interest than your usual Zhestkov-derived Cinema4D shininess.
The opening sequence reminds me a lot of Matthew Barney’s Cremaster series. Partly because of the colour palette but also because it seems to describe a system of creation/procreation/mutation.
The only thing I’d question about Peripetics is the environment or 'stage’ for the animations. It’s very White Cube. There’s a lot of crappy art criticism out there but one essay that’s pretty good is Brian O'Doherty’s Inside the White Cube. Extract:
“The ideal gallery subtracts from the artwork all cues that interfere with the fact that it is "art.” The work is isolated from everything that would detract from its own evaluation of itself. This gives the space a presence possessed by other spaces where conventions are preserved through the repetition of a closed system of values.“
Basically my reservations about the environment of Peripetics is a reponse a more widespread tradition of presenting 3D animations/models in a White Cube-esque space. It’s a reliable way to enhance the impact of the 3D model or animation, much like adding lens flare and camera jiggle is a shortcut to making 2D animations look 'cool’ or 'professional’. It’s a bit of a cheat.