Sven Påhlsson was born in Lund, Sweden, in 1965. He lives in Oslo and New York, and works mostly in electronics arts (computer animation, video installation, digital photography, web projects).

Sven Påhlsson's works have been shown in a number of galleries (Casey Caplan Gallery, 1997; Kunstnernes Hus, Oslo, 1997 ; The Tate Gallery of Modern Art, 1998, among others). He was chosen to represent Norway at the 1997 Venice Biennale.

Invited to Le Fresnoy, he intends to do develop a new 3D animation project using 3D computer animation technologies and music/sounds, exploring our perception of virtual space, as visualized in computers.

"In this project, I wish to use new 3D visualization technologies, such as emulation of physical forces, speed, collision detection, particles and physical reactions that can be calculated in the virtual world. There are programs that can emulate (copy real life predefined relations) in the 3D world. I wish to explore the possibilities of this type of technical animation for use in art. Unlike traditional predefined animation, he principle behind this kind of animation is to set-up data for mass, speed and type of surface to the object, and then let the emulated physical virtual world begin its reactions which then develops and unfolds over time. The result can be like a virtual form of bowling, where a force in the shape of a ball is applied to the animation, resulting in a strike if carried out right, just as in real life! The challenge in this kind of animation is the large amount of unpredictability involved, where you never can be sure what to expect as a result. The goal is that this will produce even more exciting animation than possible with traditional predefined movement. The type of work resembles more that of the researcher then of the animator. This could be a sort of action painting performed in the virtual computer world!

Another visual technology that I would like to explore in this project is the use of artificial /mathematically precise light technologies in art. These very exciting 3D light technologies, such as global illumination, radius, photon tracing and the use of caustics, can simulate the complexity of a real light situation inside virtual world models. But they are also very complex and resource intensive visual technologies. Until now, 3D light technologies have been mostly limited to "ray tracing". These simulate some real life light situations, but are still limited. With programs that can calculate light photons, the way real life physical light behaves (and the way our eyes sees the world) very intricate and visually complex 3D visual scenes can be created. A quick explanation might be that you define an exact simulation of real types and strengths of lights (such as 100w light tubes, 15w halogen, sunlight and so forth) and define all the surfaces of the objects in a scene with the desired properties (such material characteristics as plastic, metal, tiles and rubber). Then rendering programs calculate the resulting scene into images, sometimes taking hours or days to complete each image (and animation needs at least 25 images to produce one second of smooth movement). Unfortunately even with this complex visual technology, automatic settings do not work flawlessly. These are very exciting and powerful visual technologies, with a great potential, but it still takes a lot of effort and concentration to get high quality artistic work out of them. This art project will provide the perfect situation to explore these exciting new visual possibilities.

Music and sound have always been an important aspect of my artwork and 3D animations. For this project, I wish to further explore the possibilities of precision in sound and music in the animations. The point is not to fill the animation with sounds, like the Muzak that fills the malls and elevators with monotonous sounds. Rather the goal is to try to bring together the 2 disciplines of visual and acoustics into a new "whole". The goal is to explore a possible convergence between these 2 disciplines, the visual and the audio. Working closely with long term collaborator composer Erik Wollo, right from the start of the art project, different aspects can be emphasized and defined according to the rhythm and balance between the visual and the sound experience. Also an exploration and research into the possible linearity versus stop motion experience will be focused on in the art project."

Sven Påhlsson, 2004