Eternal Funeral

formula, a constantly evolving work updated with each presentation, is a perfect synchronisation between sound frequencies and the movements on the screen. It places the viewer in a binary geometry of space and exploits the darkness to amplify one's perceptions. There is a complete integration of the various elements, composing music, images, lighting and orchestrating the relationships between them through a highly precise score.

The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.

"River ice sets the scene for Judy Garland's international cri de coeur. It's hard to understate the amount of anxiety created by a Vice President who usurped authority for eight years to start wars and wreck the economy and then sidled off to Wyoming to be a retired 'hero of the right.' Impunity is not just the stuff of autocratic dictatorships in the third world. The American form of impunity is going to get us all killed."

A 'reversal' of Jean-Léon Gérôme's 1872 painting Pollice Verso.

An experimental film from Jirí Lehovec, mixing the sound process with animated rhythms.

A psychedelic, avant-garde collage film designed to accompany PRPL PPL's experimental album of the same name.

REMIXXX'd is the execution of the director's 8 previous works thru simultaneity.

3 minute experimental film.

5 minute experimental film.

10 minute experimental film.

Tones rise and fall as images replicate and reorder, dizzying, nauseating -- vexing.

6 minute experimental film.

20 minute experimental film.

7 minute experimental film.

1 minute experimental film.

4 minute experimental film.

Perception becomes reality, forcing reality to lose perception, crash, and burn.

"a feeling of listlessness and dissatisfaction arising from a lack of occupation or excitement."

4 minute experimental film.

A collectively made filmic opera in 35 parts. The Black and predominantly queer art collective, an evolving line up of poets and artists from across the world, abstracts and reimagines opera in any traditional conception. Set to hip-hop, blues, noise, R&B and electronica, the piece uses the voice (chanting, singing, screaming; written by poet and activist Dawn Lundy Martin) as its primary tool, verbalising centuries of alienation, vulnerability and protest in the global African diaspora through its disruptive libretto.