Waiting for Lolo

Alinur, a student filmmaker, tries to make a film about the apocalypse for his capstone project. The movie itself happens to be about a mercenary named M who inadvertently causes an apocalypse. As he tries to “create” the destruction of this supposed apocalypse through utilizing technical gimmicks that he has enforced onto the production of the film, this supposed effort also creeps in as a force that starts to “destroy” him, piece by piece. The outcome of it tests the sincerity of not only the film itself but also of the performative efforts that Alinur has made as a filmmaker—even this test might not be as sincere as it seems.

1982. 15'50". A French black and white experimental film. Bloody, violent, and disturbing. Full production credits unconfirmed.

memory file 01

In Studies cycle, abstract studies are assembled, which document the Vasulka's early work with electronic material. The visual aspect of Tissues is the work of Steina, whereas Woody engineered the sound.

Short animation experiment drawn by Oskar Fischinger

Be. Belonging. Words on vintage flash cards shuffle past in a stream-of-consciousness that shows the mind working, assigning labels and names to things through love and language. In the space of a moment, perception embarks on an epic journey of tongues, through Cantonese and English sounds and Ektachrome memories that form the characters and identity of this American-born Asian filmmaker.

Zero One is a code-based generative video commissioned by Zero One Technology Festival 2018 in Shenzhen, PR China. This project consists of multiple interlinked generative systems, each of which has its customized features, but collectively share the core concept of an evolving elementary cellular automaton.

A short film investigating the ideas of Roland Barthes, Jean-Luc Godard and Michael Haneke, in the form of two short lessons.

datamatics showed Ikeda at the height of his artistic powers, building on his own unmistakable artistic language. The Wire on Ryoji Ikeda, 2006 datamatics is the latest audiovisual concert in Ikedas datamatics series‚ an art project that explores the potential to perceive the invisible multisubstance of data that permeates our world. Using pure data as a source for sound and visuals, datamatics combines abstract and mimetic presentations of matter, time and space in a powerful and breathtakingly accomplished work. The technical dynamics of the piece, such as its extremely fast frame rates and variable bit depths, continue to challenge and explore the thresholds of our perceptions.

Short experimental film by Nan Wang

The second essay about still dominant dark aspects of our modern society. It is conceived as a surreal anti-patriarchal thought experiment and raises important questions about gender, power, and social change, prompting us to reflect on how historical patterns of discrimination and oppression might be either repeated or overcome in a reversed gendered world. It challenges the viewer to confront their own assumptions and biases, and to consider the possibilities of a more equitable society.

How would a found footage film look if the footage was never found? This conceptual art experiment questions the very nature of film and cinema while serving as an ironic tribute to the found footage horror pop culture. The found footage format provides the narrative justification for such a film to exist: the non-existence exists because the footage existed yet it was lost and never found.

“I've never seen light that looks or feels so dark; forward moving possibility united with so much cosmic terror.”—Marilyn Brakhage

The prototype [TEST TYPE • 154] is a highly sophisticated artificial intelligence, which is capable of autonomously acquiring notions from its surroundings and - eventually - developing autonomy of thought. Given the nearly human nature of its learning capabilities, the laboratory that programmed it hires a kindergarten teacher, asking him to instruct the machine as if it were a newborn child. The learning process - which spans 7 days - becomes increasingly insidious in the long run, posing a peculiar yet crucial problem: can there be a form of autonomous thinking that excludes emotions?

The Conarium Of Thanatos

A short experimental tone-poem documentary that explores three stages of the gentrification of Seattle.

Foreign Names focuses on the worker displacement in a compilation of video clips from Aroma, a coffee shop chain. Ben-Ner’s video shows counter staff at the coffee shops yelling nonsensical English “names,” fabricated and given to them by the artist. The texts edited together become a lament of the waiters’ disappearance and the state of workers today.

Via the New York Times: "...a severely obscure meditation on pre-revolutionary Russia in the form of an encounter between a ghost from the past and the ghost's present-day guardian. In fact, the two characters seem to be the shade of Anton Chekhov and the young man who tends a Chekhov museum in the Crimea, though that is never made explicit."

Kinoautomat was the world's first interactive movie, conceived by Radúz Činčera for the Czechoslovak Pavilion at Expo '67 in Montreal. At nine points during the film the action stops, and a moderator appears on stage to ask the audience to choose between two scenes; following an audience vote, the chosen scene is played.

This is a poetic short film I made with Chloe Hall for a 12 week final major project where we adapted the poem my Forough Farrokhzad. This short film is about the confinement of women in Iran and the yearning for liberation in a patriarchal society. A tapestry of visual metaphors and poetic narration intertwine, illustrating the silent yet fervent struggle or Iranian women.