long live the glitch

Divided into 26 parts, an attempt to remake James Benning's film, YouTube (2011) with similar internet footage after 13 years.

Monroe, an author, is trapped by their creation, Avery, in an anonymous basement. Avery attempts to extract further details of his existence from them and films the encounter, yet the prospect of having their thoughts exposed terrifies Monroe. This nightmare ends the only way it can: in violent confrontation.

An exploration into perceptual processes in the act of seeing and listening, Chiasmus takes film as a metaphor for the breathing body, through the intercrossing of the medium and the fragmented images of the body in movement. The rhythm and tension created by the interplay between sound and image, and their disjunction and conjunction, aspire to an organic and sensual moment where inside becomes outside, and outside inside.

Juxtaposition of seeing and sounding, sky and stone and all that's in between. A short walk in an alleyway, to hear vision sounding images, blessed with light and darkness.

An attic, a giant sewing needle and an anti-gravity fairy tale of sibling rivalry. Three sisters fight over who gets the biggest phallus in this post-feminist animation-infused playground by media artist Michelle Handelman. If Hans Christian Anderson got a sex change, surfed the porn sites, and hung with the freaky girls, his stories would look like this.

A fiction science monologue about artificial fertilization and its consequences, delivered by four characters interacting with the text.

Formats and the environment. Experimental short.

See the sound of the noise.

Letters and symbols.

Political engagement spawned the wildest of wonderlands for Hong Kong’s creativity – but as a new law annihilates freedom of expression overnight, underground artists and creatives find themselves targets, and their works disappeared. Together we race to preserve the creative uprising amid China’s crackdown.

Exploring American living, sex work, and the power of God among other things in the year 2024.

poem. trees. fragments. fritz. movement.

Short experimental film by Ernesto Baca

Encouraged by her managers, rising pop star Mima takes on a recurring role on a popular TV show, when suddenly her handlers and collaborators begin turning up murdered.

The film presents a field of sunflowers. The focus is adjusted frame by frame in succession according to a series of patterns on particular plants situated in different parts of the field. The diverse configurations placed on separate frames of the film strip appear, when projected successively, simultaneously on the screen. Thus, filmed one after another at different focal lengths, the sunflowers combine during projection to form one spatiotemporal image. LES TOURNESOLS COLORES is a capricious version of the film. - Film Makers' Coop

Longtime San Francisco filmmaker Dominic Angerame turns the classical city symphony on its head by focusing on demolition rather than forward​-​progress. Filmed in the aftermath of the Loma Prieta earthquake, DECONSTRUCTION SIGHT plays like an avant-garde disaster movie, an anti-spectacle in flaring black-and-white.

APARTMENT

An experimental short shot on a f0.3 equivalent large format lens

Commissioned by the Exploratorium in San Francisco, Paul Clipson's five-part COMPOUND EYES cycle delves into the otherworldliness of the natural world. In training his Super-8 camera on insects and other "minor" invertebrates, Clipson draws the eye into an unseen realm, one so delicate as to simultaneously tempt and refuse the touch. Following the surrealist desire to make the familiar strange and the strange familiar, Clipson relates this micro-landscape to the built environment. Electronic musical motifs supplied by frequent Clipson collaborator Jefre Cantu-Ledesma add another layer of inquiry, one tuned to the unspoken space between wonder and terror. This first entry in the series keys the viewer's vision to a single drop of dew on a blade of glass. Wisps of eyelashes, dandelions and insect limbs seem to brush against the lens in a trembling intimation of seeing.

Animator Ryan Larkin does a visual improvisation to music performed by a popular group presented as sidewalk entertainers. His take-off point is the music, but his own beat is more boisterous than that of the musicians. The illustrations range from convoluted abstractions to caricatures of familiar rituals. Without words.