Perhaps the first digital computer animated movie ever made and probably the only example of an 'Artificial Intelligence' used to simulate a filmmaker: (an IBM 7094 computer, after being instructed in genetics and graphics, generated approximately 50 billion machine instructions to design the first 2/3s of the film. The film was first shown at UCLA`1066, J. Hendrix Concerts, Brussels, Tours, 7th International Animation Festival, 1st L.A. FILMEX '71 etc.

		The Cibernetik programs were developed between 1960 and 1964 in the basements of Santa Monica College and UCLA’s Boelter Hall on an IBM 7094, as personal research into movies and biologic systems. The original concept was to create an animation system that would allow anyone to create an animated movie as easily as writing a story. In the early 1960’s work on Cybernetik was encouraged by the efforts of Watson and Crick, and so the Cybernetic systems initially incorporated their own primitive genetic models to originate the forms and designate their related sounds using Bell Labs Music 4; along with a range of three-dimensional spatial environments where these forms could evolve, in fields of light, energy and gravity; all of which incidentally left far too many possibilities to even begin considering how to coordinate all the details.
Another clip from John Stehura's Cibernetik 5.3 movie.

So a top-down AI learning system was implemented, which controlled the origination of both the environments and their visual organisms; based on personal opinions. The film result was the observation of their interactions. Naturally I had only a vague idea of what might be produced, particularly since there were no computers with graphic displays available at that time. Most of the algorithms for this film were new, implemented years before being discovered elsewhere. If done now, a similar system might offer new creatures or a new human species, a range of possible worlds they might inhabit, or ones we would choose to build, all the sounds, the climate, their aspirations, and naturally an infinity of stories; all of which could no doubt be done perhaps more originally and imaginatively, by a computer, than most of what passes through our film industry.

Cibernetic system 5, version 3 was simply the stick figure version of such an environmental simulation that would naturally run indefinitely; which could be simply excerpted as a movie or could run with as an interactive simulation. Perhaps a more detailed simulation might help us observe our own life situation, or help us function in the world we may care to live-in; nurture, protect or help create. The last third of the film contains fisheye images of friends at UCLA’s Botanical Gardens that were merged with some of the computer animation. Since 1965 I spent many years developing considerably more advanced system software to expand these possibilities, along with architectural and environmental building tools, and was tempted to continue because of the fundamental advances that might be created.
		Fisheye images of at UCLA’s Botanical Gardens.

Naturally I don’t view the cybernetic arts as a dead-end endeavor, but something which can be very labor intensive in order to develop all the various system components, and which may have an extraordinary future; in any case there are now many people designing some of the basic graphic components. Although no further films followed, this project led to an understanding of more direct approaches to participating or cooperatively creating with nature and life. The limits of our knowledge are always extraordinarily close to us, they are the frontiers essential to life and understanding, they are always offered to us and are deserving of our time.