Does biodiversity follow any pattern?
This is the first in a series of DIY projects from reproducts.
Reproducts provides an idea. In this case a script.
Interested parties are allowed to implement this idea.
The idea may be interpreted, but not significantly changed.
The product is then published under the reproducts label in consultation with the developer.
reproducts is already looking forward to the results!
“The world is the way it is. I got the best out of her. And she wanted it that way. "
Titus A. Drescher
Dull drums stimulate our abdomen. Rejected synth strings penetrate our ear canal. We get caught up in a whirlpool of joyful anticipation.
We see aerial photographs of oceans, savannas, tundras and rainforests. They form the background for a silhouette metamorphosis: We witness how a water flea becomes a frog, a fish, a lizard, a beaver, a wolf, a chicken, a horse, a monkey, a person, an animal filmmaker. The wildlife filmmaker raises a camera to his eye. A water flea tumbles out of the lens. The person and the camera are sucked into the water flea. The picture zooms in on the inside of the twitching flea.
"Africa, the black continent."
Titus A. Drescher, the animal filmmaker, 103, is wearing a green polo shirt and is looking directly at the camera.
Short cut to the Lacoste crocodile on his chest.
He is standing in front of a corner of the room that has been sparsely decorated with a few holly trees. Presumably it is a greenhouse in a small town in central Germany. An elderly woman stands silently next to him, presumably his wife. She looks up into the distance.
Titus A. Drescher starts again:
“Africa, the immeasurable black continent.
Magic and adventure, promise and danger, blessing and curse.
But also poverty, disease, war. "
In the background, a pergola crashes over.
The wife turns around, startled.
“Ngorongoro Lake, Tanzania.
The night has been full of horror. It still lingers, the roar of the lions, the giggles of the hyenas and the thunder of the herds fleeing in panic.
I step in front of the tent and prepare the camera. Everyone is still sleeping in the camp. A young, still inexperienced fighting eagle circles over Lake Natron in the first light of day. His gaze sweeps over the hundreds of thousands of flamingos that have gathered in the salt water. Why, the feathered youth seems to ask himself, are these pink beauties of the bird world not ash gray or camouflaged and try to evade my gaze in this way? Isn't her beauty a form of suicide? A request to do exactly why I am in this world? But hunger doesn't think. I dive full of determination, my goal firmly in view. I elegantly brake the impact and dig my claws deep into the strange feathers. At that moment, all of the pink stilts standing around grab me with their beaks. On the plumage, on the tail, on the neck, everywhere, and drag me into the caustic brine in joint action.
And. The. Is. My. Death."
We see a portrait of, drawn with a felt pen and animated with a stop trick Jean Rouch, the legendary documentary filmmaker.
… Yes, I call it cinetrance. When filming, the end of the film becomes obsessed. He is no longer himself, simply no longer the same. He no longer sees with his own eyes, no longer hears with his own ears. All of his senses are infected by the medium.
It can be said that the spirit of the cinematographic apparatus has taken possession of it.
The squared paper is crumpled up by a human hand. Cut.
Titus A. Drescher, the animal filmmaker, 103, stands in front of a small waterfall in swimming trunks. Text overlay below: "Aqua Tropicana", Damp 2000 / Schleswig-Holstein.
Standing next to him his wife in a blue-flowered swimsuit. You can hear the noise of a school class in the swimming pool.
"When I went into the jungle and came out again after a year, I was no longer the same."
“He wasn't himself anymore,” nods his wife in agreement.
"The heat, the drums, the mosquitoes."
The camera zooms in on his face, contorted with pain.
"Green hell, this green hell!"
His wife is coughing.
"Maggots, bugs and - and ... spiders!"
It shakes him.
"But the worst - the human!"
Titus A. Drescher, the animal filmmaker, 103, stands up with a jerk.
“A handful of celluloid. And I wasn't the same anymore. Let me! Let me!"
Titus A. Drescher, the animal filmmaker, 103, runs to the edge of the pool and jumps. After a moment's hesitation, the camera jumps after it.
We see air bubbles and the bodies of swimmers and bathers underwater, undercut with images of unicellular organisms floating around. The names of the most relevant tropical diseases are displayed with dramatic musical accents:
The camera obtrusively approaches the legs of a swimmer.
Use of threatening music.
The swimmer's foot hits the camera and the image turns black.
Titus A. Drescher, the animal filmmaker, 103, hovers in a glass diving bell in front of a huge blue screen television studio wall. Impromptu he comments on the changing film scenes that are stamped into the blue behind him.
A WILD STREAM IN ALASKA WHERE SALMON RISE UP.
“The love games at the spawning area had a burlesque effect like the Bacchanic goings-on of senile fauns. "
A CORAL REEF.
"The clownfish, this funny little animal, escapes into the all-digesting stomach cavity of its friend, the snake-haired anemone, in case of danger, and even spends every night in this digestive torch, the strangest bed that Mother Nature can offer her creatures."
ABOVE A VULTURE HORSE IN ABYSSINIA.
"In higher animals, feed socialism can only develop among carnivores, but never among vegetarians."
In the midst of a flock of locusts.
"This is how life in an orgy accelerates its own downfall."
We see a portrait of, drawn with a felt pen and animated with a stop trick Humberto Maturana, the Chilean biologist and philosopher.
“... I would say that as living systems we exist in complete solitude within the confines of our individual autopoiëse. Only by creating worlds with others through consensual areas do we create an existence for ourselves that transcends our fundamental loneliness without being able to undo it. [...] We cannot see ourselves if we do not learn to see ourselves in our interactions with others and, because we see others as reflections of ourselves, also see ourselves as a reflection of the other. "
Approving nod. The wire mesh models by Bernhard Grzimek, Heinz Sielmann, Konrad Lorenz, Hans Hass and Horst Stern sit together at their regulars' table. The behavioral researchers, however, behave improperly towards the female counter staff as always. Every now and then, when one of the five pensively sips his Hefeweizen, we can, magnified through the bottom of the beer glass, look for a fraction of a second into the interior of the animal filmmaker, which seems to consist of a red, twitching mass of millions of single cells.
None of the five animal filmmaking systems speaks, each goes about his own business. Grzimek is fiddling with an inflatable black rhino under the table. Sielmann is also preparing a tree trunk in which a great spotted woodpecker is breeding. Lorenz carefully stuffs his goose's neck with salty peanuts and Horst Stern lets a large black spider bite his palm over and over again. Hans Hass films the whole thing unnoticed with his famous special 90-degree-around-the-corner-vision camera made by himself.
Voice over from Titus A. Drescher, the animal filmmaker, 103, in an agitational tone:
“This is real Cinema Verité. Pure authenticity, so to speak, with a good dash of anthropomorphism, because of you, the viewer. The humanization of the animal world has meanwhile reached epidemic proportions and the demand is growing steadily, thanks to you.
In the early days of animal films, the spirit of adventure may have prevailed, the image of the nature filmmaker exposing himself to the adversities of the wilderness, who, despite unspeakable privations, succeeds in snatching fat image loot from the wastelands of this world. Trophies that he dragged into the cave of his own kind to throw them on the wall.
But that, dear audience, has apparently not been enough for you for a long time. Nowadays, completely incoherent snippets from some picture archives have to be cobbled together to make animal family soap operas in order to provide you, dear audience, with identification patterns or to replace a family constellation. A shark tank as a self-service shop - that's the reality today!
Titus A. Drescher, the animal filmmaker, 103, sits somewhere on a wide plain. The sun burns. Titus A. Drescher waiting for something. His eye rests on the camera eyepiece. He's waiting for something to connect to through his lens. Something that will change him forever. He's been sitting like this for a long time. Hours go by, days, weeks. Nothing moves around him. Just the shimmer over the plain. And the heat that makes dust devils dance in the distance. The voice comes from the kitchen window his wifecalling him to eat. With practiced hand movements, he stows his camera equipment back in the heavy metal boxes and then makes his way into the house, which is not 15 meters behind him in the brooding savannah, as we only now learn from a sudden camera panning.
“We see in front of us Titus A. Drescher, the animal filmmaker, 103kneeling on all fours in his front yard. He has an open umbrella attached to his back. It appears to be imitating a giant Galapagos tortoise. With his horny lips he is currently tearing small tufts of grass out of the lawn.
Now a flock of Darwin's finches lands right next to him.
At lightning speed, as we would not have thought it capable of, the six-centimeter colossus stands up on its front legs and stretches its head far back. This could mean two things: a) a threatening gesture towards an approaching conspecific, or, more likely here, b) a prompt towards the flock of finches. Yes, they storm all unarmored body parts of this large reptile like a raid on the neck, head, legs, tail and anus, but above all on the deep skin folds of the body. Everywhere there is now a pecking and hoeing. The finches free their massive friend from hundreds of ticks that suck blood on his body.
Now all the birds are gone again, and the cosmetically well-groomed giant waits a minute in a still-frozen state before slowly returning to his normal posture and continuing to eat. "
WAMERU, August 12, 1977.
Dr. Reza Talaki, a close collaborator of Jane Goodall, makes the following observation in the evening and can even record it on film:
A group of chimpanzees and baboons each camp together on the edge of a jungle clearing. It looks like a paradisiac fraternization scene. Everyone is lying on the grass, full of juicy fruits. The young of both species play happily with each other while the mothers nod benevolently. Suddenly, piercing screams tear the evening air. A tall, white male heterosexual man with monkey hair covered all over his body, namely Titus A. Drescher, the animal filmmaker, 103, hereinafter referred to as the accused, grabs a baboon child who has just been running around innocently playing with chimpanzees of the same age, jumps with the monkey child into the protection of his chimpanzee gang, and turns the neck of the heart-rending, screeching bundle of fur with both hands. Immediately five more chimpanzees are on the spot and tear the corpse into several pieces in order to pound over it and to eat the meat with obvious enjoyment. Also Titus A. Drescher, the animal filmmaker, 103, it can be tasted until suddenly it is Dr. Reza Talakis Facing camera.
We see a portrait of, drawn with a felt pen and animated with a stop trick Kurt Ludewig, Dr. phil. and graduate psychologist.
“Let me add the following at this point: It follows from Maturana's biological approach that individuals form social systems because they are destined to do so based on their biological structure. All intrinsic phenomena of social systems result from the structural coupling, the consensualization of individuals. In this way, they gradually create a recurrent network that defines the behavioral framework of a particular social system. Everything social is based on the fact that the organisms involved always realize their ontogenesis as a co-ontogenesis. Individuals only belong to a social system as long as they participate in the reciprocal structural coupling and support the relational structure. "
Titus A. Drescher, the animal filmmaker, 103, has demonstratively chained himself on a mountain top as a publicity stunt. Whether to prove your innocence or just to die - you don't know. He has unrolled three banners with the catchphrases on them:
The banners flutter desolately in the wind and convey their messages like prayer flags to distant and loyal viewers.
Over the old fool Titus A. Drescher, the animal filmmaker, 103, circles a young but no longer completely inexperienced martial eagle.
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