Animated style exploration using programmable puppetry, on home found objects, servos, micro-controller, laptop, camera, microphone.
We are conditioned to understand and crave the narratives that emerge at the battle site, inspiring and supporting bare survival in hard times and celebrating the heroism of our endeavors during the periods of grace and peace. We maintain the polarization and division through the narratives embedded in street names, monuments, stories, plays, and texts – so the conflict remains unforgotten, unforgiven, and anticipated.
The lack of symbolism and labels in the elements before us, like blank pieces of paper, nonrepresentational geometry, and deconstructed apparatus repurposed for intangible labor, allows us to engage in narratives that hopefully one day perhaps become unburdened from our conflict-crisis-resolution frame of references. Like the ganzfeld effect, in which one who stares at a featureless view field their mind starts projecting and hallucinating features, our mind creates something out of the elaborate nothing.
Faruk Sabanovic is an artist, animator, and filmmaker who combines generative art, software development, traditional and computer animation with live-action film, installation, and theatre.
Faruk’s work embodies a rare combination of technical proficiency and artistic vision that made him a valuable member in many international productions.
Currently, in collaboration with a gestalt psychologist, Faruk is developing a collaborative storytelling automation software for a spontaneous cross-media piece on dealing with the trauma through the search of beauty.
Faruk studied Fine Arts and Physics at the University of Sarajevo, worked as the advisor at the Federal Ministry of Culture of Bosnia and Herzegovina, and by joining the MIT Art Culture and Technology hopes to have found a perfect place to explore the personal, relational, institutional, and global threshold of humanity in the emerging future of art, culture, and technology.