Colored Rhythm: Study for the Film (1913)

Divisional Articulations

Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, spawning arrays of divisional articulations in time and space.

A Day In LC

A person living in Liberty City goes to work, have some food & gets back home.

Thine Own Self

Torn from their home by a hand in the sky, colorful entities seek freedom from a rigid binary in this short experimental animation.

Shearing Animation

An abstract animated film inspired by the work of jazz musician Chico Hamilton.

Son of the White Mare

A horse goddess gives birth to three powerful brothers who set out into the Underworld to save three princesses from three evil dragons and reclaim their ancestors' lost kingdom.

Mamori

Mamori transports us into a black-and-white universe of fluid shapes, dappled and striated with shadows and light, where the texture of the visuals and of the celluloid itself have been transformed through the filmmaker’s artistry. The raw material of images and sounds was captured in the Amazon rainforest by filmmaker Karl Lemieux and avant-garde composer Francisco López, a specialist in field recordings. Re-filming the photographs on 16 mm stock, then developing the film stock itself and digitally editing the whole, Lemieux transmutes the raw images and accompanying sounds into an intense sensory experience at the outer limits of representation and abstraction. Fragmented musical phrases filter through the soundtrack, evoking in our imagination the clamour of the tropical rainforest in this remote Amazonian location called Mamori.

Drums West

This newly rediscovered short was created in Jim's home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.

Anoche

Three memories that become one. An attempt to merge heterogeneous materials: a film sequence shot in Rome, a photo from the 1930s, a noisy soundtrack. Fragmented lines, exploding bass frequencies and flickering.

reMemBer2.human

In an indeterminate future, forbidden memories challenge a database containing all human memories. An experimental cinematic search between past and future, fiction and fact, Prishtina and Tirana. The future, a glitch.

From Zero to One

From Malkuth to Kether and back, the whole spin of the wheel. A retelling of a series of dreams and visions experienced by the director in her Great Quest.

Quilt

An abstract animated film, using computer and experimental techniques in choreographing quilt motifs and designs to music. A tribute to the unique and long-established art form of patchwork quilting. A film without words.

Fluids

16mm color work by Stan Vanderbeek that takes his work away from the cutups and the commentary and lands him in the psychedelic and abstract. Opticals, repetitions, camera moves and zooms are what make up the bulk of this exploration into fluids. The results bridge that realm between hangout art piece and intersteller stoner trip.

Gassy's Gas n Stuff: Lotto

After Billy finds a winning scratch ticket, the gas station gets a new lottery machine that becomes the talk of the town. Part of [adult swim] smalls and second Gassy's Gas n Stuff short

Calculated Movements

Cuba programmed solid areas and volumes instead of the vector dots of the previous two films. It also in four "colors": black, white, light grey and dark grey. In five episodes, he alternates single events involving ribbon-like figures following intricate trajectories, with more complex episodes consisting of up to 40 individual events that appear and disappear at irregular intervals. Electronic sound scores accompany.

Autogenic

From the void of space, a cube structure comes to life in this experimental visual music film.

Endless

A meditation on the inevitable deterioration of certain traditional values that have been established (or destroyed) throughout civilization. This elegiac account uses symbolic representation from natural elements in order to convey the inevitability of remembering the social and cultural erosion, and places a layer of texture in front of the elliptical glimpses of imagery, separating the viewer from the past. The re-occurring image of flames remains untouched by the erosion aspects of reticulation, ultimately alluding to nature's powerful quality.