Can a picture contain all the beauty of a flower? At any rate, that’s what the narrator is looking for. To try to make it, she takes hold of a revolutionary tool, Artificial Intelligence. Throughout the film, she forges a link with Mary Delany. The flowers created 300 years ago by the English botanist are strangely similar to those created by algorithms. Between technology and emotion, Algorithms of Beauty question the limits of our gaze when faced with AI images.
EN
“As a director, I take the opposite side of my training: I have no fascination for what is called a ‘beautiful image’. I explore the limits of the video signal, between overexposure and absolute black, to push the limits of digital pictures.”
Miléna Trivier
“The shape of a flower is so graceful that it surpasses all praise. And what the narrator wants to make visible with her CGI flowers is the life that flows through them. But the representation, whatever happens, is different from the real object, and these imperfect images seem to have more to do with death, with the memory of what has disappeared, than with life. How do we get out of this impasse?”
Grégory Cavinato1
- 1Grégory Cavinato, “Algorithms of Beauty de Miléna Trivier,” Cinergie, 28 November 2022. Translated by Sabzian.
FR
« La forme d’une fleur est si gracieuse qu’elle dépasse toutes les louanges. Et ce que la narratrice veut rendre visible avec ses fleurs en images de synthèse, c’est la vie qui les traverse. Mais la représentation, quoi qu’il arrive, est différente de l’objet réel et ces images, imparfaites, semblent avoir plus de rapport avec la mort, avec la mémoire de ce qui a disparu, qu’avec la vie. Comment se sortir de cette impasse? »
Grégory Cavinato1
- 1Grégory Cavinato, “Algorithms of Beauty de Miléna Trivier,” Cinergie, 28 November 2022.
