Abstract
The initial stage of research outlines how the theoretical discourse on CGI animation is closely connected to technological development and its ability to generate realities. According to the myth of total animation, mimetic capacities of computer-generated images can be considered as the dominant aesthetic impulse.
Therefore, the critical perspective is primarily focused on questions of synthetic realism, hyper-realism, and re-formulation of digital cinema. If the current technological possibilities fulfil the promise of a computer-generated image as perfect mimesis, would it signify a need for rearticulating the question to understand the aesthetic quality (and its affective potential) of virtual images from unseen perspective? The aforementioned principle of so-called plasmaticity contains something phenomenologically terrifying.
Something known but at the same time unknown (uncanny). How did the possibilities of digital images contribute to updating this principle? Field of experimental CGI animation might propose an alternative view on a digital facade – offers nightmarish cosmos where the guiding principle seems to rely on plasmatic possibilities of virtual imagery and whose changeability brings up horror affective power of unstable mud.