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46. Petra Vargova, DOA2 (Dead or Alive 2), 2001
After 2001 Final Fantasy - The Spirit Within, modelled on the computer game of the same name, was launched in cinemas, the press was impressed above all by the skilful simulation of reality by the digital images. Here particular attention was paid to the humanoid "borderline" being Dr. Aki Ross. In contrast with films like Monsters Inc and Toy Story, the makers of Final Fantasy were determined to create an illusion of reality - they did not want fictitious monsters or play figures as their leading characters, but computer-generated human beings who seemed as real as possible. Petra Vargova's DOA2 stands this striving for perfection in digitally produced computer worlds on its head. Vargova acts as an independent avatar in one of the best-known martial arts films Dead or Alive 2, fighting in a virtual world against insidious super-heroes and Asiatic beauties. She successfully defeats her digital opponents level by level, until the final announcement: "Game over!"
[Carmen K. Beckenbach]

  47. Anastasia Vinokourova / Elena Kousminyh, Bilderjunkies, 2002
Every motif in the world seems to have been photographed at least once, and this applies particularly to popular tourist locations like Alexanderplatz in Berlin. In Bilderjunkies, photographers who happened to be in this very place were asked were asked why they chose the subject. This shows that "unfaked" images are particularly in demand. [Carmen K. Beckenbach]
  48. Liu Wei, Underneath, 2001
Sterile, smooth, prefect architecture, tidy streets and domesticated green areas. These familiar images are contrasted in the video Underneath with images of people digging in rubbish. This means that the two opposed pictorial worlds enter into a state of creative symbiosis. [Carmen K. Beckenbach]
  49. Tim Wolf, rock in the video age, 2002
Wolf makes his eyes hear in his video rock in the video age. He accompanies the Berlin producer Jan Jelinek's Ambient-House music with an abstract interplay of "roaring" band of colour. Whenever there is a change in the music, the colours change as well. This synthesis with music produces sound images whose origins are no longer recognizable. [Carmen K. Beckenbach]

  50. Sabine Zimmermann, >>/über zeichen sprechen, 2001
Zimmermann initiated the über zeichen sprechen communal project in 1999. It involved artists and designers who created a constantly growing sign archive. An interactive CD-ROM brings together a hotchpotch of endless animated pictograms. "One picture says more than a thousand words." Pictograms dominate our everyday lives, whether it is the running man on a green background or the skull indicating poison. These reference points change their meaning when placed in a new context, which then determines the significance of the sign. [Carmen K. Beckenbach]

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