Abstract

This article investigates artificial life image-making in relation to and as constituent of the moving image, specifically artificial life visualized in three-dimensional computer-generated space . Of particular interest in this examination is the view or `window', from the virtual camera, into the artificial life computational model or `world' , and how it organizes a dense field of expectations. Analogous to looking through a telescope or microscope, the view into the artificial life world is monocular and often fixed in the world; in this regime we look `at' computer models, which are often referred to as agents, `creatures', `organisms' or `cyberbeasts'. This tactic of looking through the instrumentality of science, the arts of reality, is parallel to looking through André Bazin's `long take' in cinema and documentary film-making in which we look `at' an unmediated view of reality; in other words, in looking `at' an image of artificial life we look `through' a non-intrinsic regime of seeing. This investigation into the interpretative regime provides only a partial account of the intercultural traffic between artificial life and the moving image. I further this discussion by arguing that artificial life screen-based works are a contemporary extension and reworking of the nature film in that they provide accounts of the `natural' world that are familiar and similar to those of their filmic and cinematic predecessors. I contend that artificial life visualizations and the stories that often accompany the images are the latest manifestation of this photographic and filmic tradition. To illustrate my point I discuss the scientific project Daisyworld, the associated narrative that frames the research, and the researchers' attempt to mathematically model an `imaginary planet [with] a very simple biosphere'. This sets the scene to explore artificial life in relation to Disney wilderness and nature films