La dissolution du paysage

A brief journey through the human experience as seen by the eyes of an Artificial Intelligence.

An abstract computer-generated film. The image is of squares revolving in space around and through each other. Colors and forms multiply and divide against a beautiful symphonic score by George Kleinsinger.

A chain reaction as a new Olympic sport.

Fragments of a collective post-human dream construct a world that straddles hyper-technological, ecological, and mythological dimensions.

A child is attacked and turned into a chimera and must learn to navigate his strange world as an entirely new kind of being.

Pictures taken between France and Mexico running at 8 frames per second.

Dilution is an experimental short film that explores the transit between resistance and (di)ssolution, between holding and releasing and a path towards obsessive repetition. They are layers, exposed pores, matter that oscillates between remaining or disappearing. The sound is not a background, but a puncture: friction, tearing, water that drags what still persists. A sensorial testimony of what refuses to vanish completely.

This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, colour filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.

A disturbing cinematic opera from Melbourne film-maker, Michael Lee, presenting an intense emotional collage of film clips, original footage and complex object animation, structured loosely in the form of a Catholic Mass, to communicate the film-maker's traumatic Catholic experience. The film is intended in part as 'anti-imagery' in response to the iconography of Catholicism.

The animation, music, and optical printing of Kitsch in Synch was produced by Beckett and the students in two classes he was teaching at CalArts. Although a group project, it is clear that Beckett was the director. The playful, catchy soundtrack is used to create a cycle of building tension and release. The brightly colored shapes create approximate symmetrical formations and become more densely layered, with glimpses of iconographic objects and even live footage near the end. Preserved by the Academy Film Archive, in partnership with the iotaCenter, in 2007.

A scientist returns an alien egg back to its mama.

Serlasanha

A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.

A film inspired by a visual representation of trauma and the journey towards healing. It delves into the symbolic language of the cosmos and the natural world to express the complex emotions associated with trauma.

The Hungarian word "alkotás" (artwork) has a dual meaning – it can refer both to the process of creation and to the finished artwork. The film tells the story of how a canvas comes alive, how playful, abstract forms are created, each one carrying its own human narrative.

Filmed on 16mm film, this visual expression is rooted in its archival materials and backed up by the poem by Hans Magnus Enzensberger. It speaks of the forgotten people, their lives and their deeds. These two Archives have been found on the flea market in Zagreb. One is of a famous architect and the other one is of a famous composer. This film ponders on this occurrence, on the vanishing of and forgetfulness of humans.

Video art by Vibeke Sorensen made at Calarts in 1989

A comic book character searches for a new home after leaving his own story.

Abstract video art by John Sanborn and Dean Winkler. Dedicated to Ed Emshwiller.

"We Go Past Future" is an experimental paper collage film by Anna Malina. The film reimagines a series of Soviet films from 1919 to 1953, blending them into a unique visual narrative.