In the Dark

A nameless drifter navigates a barren landscape punctuated by satellite dishes, radio towers and droning airplanes. Stopping periodically in anonymous hotel rooms, she makes attempts to connect to an unidentified second party.

Anémona and Pisces live a capicua experience: they are at the same time the woman who looks, the woman who is looked at, and the very act of looking. Between fractal scenes and images multiplied in reference to Man Ray, Anémona assumes the will to, through the state of trance, always be a foreigner within herself, while Pisces goes in search of an alien vision, to assume herself as the self and otherness to understand the world.

Performance video about a holiday romance at St Ives, Cornwall.

Super 8mm, 21 min., b&w, music by Jefre Cantu-Ledesma.

An experimental film comprised of Stanley Kubrick's THE SHINING played forwards and backwards at the same time on the same screen, creating bizarre juxtapositions and startling synchronicities.

A dejected homemade robot wanders through a bright and sunny landscape, only to encounter some bad luck.

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

An Experiment video by Ravin kamaran

Video art by Vibeke Sorensen made at Calarts in 1989

Abstract video art created in 1979. Video and audio by Dean Winkler, Glenn Van Alstyne, Tom Lucke, Elaine Lewis, and Brian Aitchison. Chirp-1 / Quantel was created in two separate effects passes: At the RPI Video Synthesizer Lab an old porno tape (on stock that was donated to us) was processed using an analog Serge modular music synthesizer to sequence the sounds and control the colorization of an analog Hern video synthesizer. The sounds are also inserted into the video, which are the stripes you see, changing with frequency. The tape from the first pass was taken to EUE Video and used to seed an analog feedback loop around a Quantel 5000 digital effects device.

An experimental media installation of three windows exploring fragments of liminality. Three unique re-constructions of experiential instances volumising the cataclysms of thresholds. Experience the absence of definition, the absence of boundaries set and the absence of rationale. A myth is not to be understood, a myth is passed on, like a game of Chinese whispers, it takes its course and ages with time, suiting the demography and tale, it warps and distorts

Cóndor

IDFA and Canadian filmmaker Peter Wintonick had a close relationship for decades. He was a hard worker and often far from home, visiting festivals around the world. In 2013, he died after a short illness. His daughter Mira was left behind with a whole lot of questions, and a box full of videotapes that Wintonick shot for his Utopia project. She resolved to investigate what sort of film he envisaged, and to complete it for him.

Today, analogue video is attractive primarily thanks to the distinctive aesthetic quality of its pixelated image and raster errors. But for Czech artists who first explored the possibilities offered by video art in the late 1980s, this medium represented a path towards freedom. Through a portrait of her grandfather Radek Pilař, one of the pioneers of Czech video art, the director explores her own legacy of imperative creative fascination. Her film’s main story, i.e., the process of reconstructing the 1989 exhibition Video Day, contrasts this enchantment with life in the final days of the totalitarian regime, which different sharply with the adventures of those who decided to emigrate – whom the filmmaker also visits in order to discover forgotten works, get to know their creators, and re-establish broken ties.

Furio’s Furious Fragments & Friends - Furio Jesi (1941 Turin -1980 Genoa), enfant prodige moving between a plethora of disciplines – egyptology, history of religions, German philology, literary criticism - passed away prematurely, not without leaving bright fragments which throw light on mechanisms beneath many socio-cultural practices, for instance regarding cultural belonging, the functions of myth in modern society. He saw kind of “mythological machines” at work underneath our cultural production of meanings, historically determined, departing from a void, something that is still in culture but as residue, a missing link to an alleged authentic experience nowadays compromised up to the point to became just rhetoric, a byword, which is in no way neutral, but a tool, a macchina, for maintaining the status quo and serving the power apparatus. As in the case of holidays, celebrations and festivals.

A lo Mejor Algún Día

STEINA: “My background is in music. For me, it is the sound that leads me into the image. Every image has its own sound and in it I attempt to capture something flowing and living. I apply the same principle to art as to playing the violin: with the same attitude of continuous practice, the same concept of composition.

Strange things occur tonight whether the paranormal phenomenon is the invisible invasion of aliens from outer space or light flashes of another dimension? We will never know. Are we alone or may we encounter extraterrestrial species that are coming at night to conquer our dreams, our body and mind? What are you afraid of?

"This film is a collaborative installation project with Orleans + Winder (Detroit). It examines Nathaniel Dorsky’s writings on Self-Symbols in film as applied to the exhibition and personalization of clothing. Dorsky writes: If you have ever looked at your hand and seen it freshly without concept, realized the simultaneity of its beauty, its efficiency, its detail, you are awed into appreciation. The total genius of your hand is more profound than anything you could have calculated with your intellect. One’s hand is a devotional object."

While you wait to hear if they'll pay your claim, there is almost nothing like the silent buzz at the other end of the line. Or when you say something that requires a response and the world says back, "no worries". There's an art to miscommunication, unthinking, the void, and the customer service call. Phoning it in might just be a necessary part of life. This rough-edged sketch mixing performance art living and film is a study of the phone call, American doofiness, and blank minds under the reign of the corporate call script. Everyone is impotent in the institutional setting.