Kuinka lyhdyt muuttuvat linnunradoiksi, huokaukset mitataan hevosvoimissa ja naftalätäköistä tulee uudella maailmankartalla valtameriä

In this extraordinary short animation, Evelyn Lambart and Norman McLaren painted colours, shapes, and transformations directly onto their filmstrip. The result is a vivid interpretation, in fluid lines and colour, of jazz music played by the Oscar Peterson Trio.

There is nothing left to do but complain.

Trite, closed memories flagrantly bleed into profuse openings mixed & held together by retaliatory colorations & obfuscations.

Platitudes begin at peaks then rapidly descend and dismantle in order to ascend more acutely until they repeatedly and successively overwhelm.

Beyond all human restraint lies one's lugubrious layers of paint.

'It was in San Francisco at a punk festival. I was already high and the air was so thick in the rooms that you could cut it with a knife. I had a photograph camera with me; I stood in a corner of the entrance hall and took 36 pictures on slide film. At home I put the slides into a slide projector. I took out the lens and filmed the slides by filming directly from the projector - using single frames according to a certain plan.'

WHAT YOU MEAN WE is a surreal short film by experimental artist Laurie Anderson.

Wax and wane until there is naught but boring pain.

Lines align during acclimated apexes, shadowy vertices, and bright burrows.

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

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

Part of a collection of restored early works by Nam June Paik, the haunting Beatles Electronique reveals Paik's engagement with manipulation of pop icons and electronic images. Snippets of footage from A Hard Day's Night are countered with Paik's early electronic processing.

Shortly before his death, Romitelli together with his friend Paolo Pachini and the poetess Kenka Lèkovich, resurrected the dream of a total scenic art (a furnace of sensations, they called it, an_ initiation rite_) in the manner of the Futurists: rhythms and gleams of light striking metals (for the video part), poems in iron and chrome singing of fusion with matter (Kenka Lekovich), acoustic/electric music highly amplified, filtered, spatialised, in as artificial a manner as possible. An Index of Metals bears vigorous witness to this determination to go beyond: sizzling orchestration, electric and psychedelic; a voice which plays on effects, murmurs with reverb, cackles into a megaphone, screams like a pop star; and an electric guitar score of a kind that no ‘serious’ composer has ever written, sliding across an infinite range of tones with a lightness of touch and blurring of contours.

A film that places the bright and dark sides of life close together. From an understatement beginning, the movie drives up to an ecstatic highlight with a love act between two young people. The orgasm becomes an enormous image flow into the crematorium's death machine.

This fantastical movie inspired by the music of Michael Jackson features imaginative interpretations of hit tracks from the iconic 1987 album “Bad”.

Return to 'burn' only to find out you're already in that urn.

(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.

James Sumner directs and animates the entire Dirty Projectors’ The Getty Address.

A film in five different sections, each containing a different soundscape by Ostrowski. Hand painted film, intense exposure, morphing textures and shapes into a seamless whole; geometrical games sabotaging themselves; and the incessant lure of the abstract paint drift. The soundscapes, of course, build up like fountains of picture, oscillating between contemplative sculptures with electronically manipulated strings and harsh noise attacks on our senses. Despite the use of sound as a central filmic element, Cyanonide stands as a proof of the enduring influence of Brakhage on american avant-film.