Frammenti di una Festa Furiosa

"We are powerfully imprisoned by the terms in which we have been conducted to think.” - R. Buckminster Fuller

Experimental short film by Barbara Sykes

This live show features the energetic analysis of television network news by Brian Winston. Winston looks at the news as a unique institution, governed by its own conventions and constraints.

How does the "cultured" gorilla, i.e. Koko, come to represent universal man? Author and cultural critic Donna Haraway untangles the web of meanings, tracing what gets to count as nature, for whom and when, and how much it costs to produce nature at a particular moment in history for a particular group of people.

Proximities focuses on the trope of the Malay Boy found in the works of Singaporean artist Cheong Soo Pieng (b. 1917-1983). It attempts to locate the Malay male in art history while unpacking underlying systems of power that have shaped and naturalised the understanding of difference.

Köner uses sequences of images from webcams as raw material. People and their vehicles appear acoustically, but not visually. The shift from day to night and the influence of the weather gives motion to the segments. He condenses a total of 3,000 individual web images taken from the Internet into one scene. Despite the cinematic motion of the image, it seems like a still photo.

The goddess Diana and her two attendants traverse the rugged terrain of Idaho’s Sawtooth Mountains in pursuit of the elusive wolf. An Engraver (Matthew Barney) furtively documents their actions in copper engravings and provokes a series of confrontations. The characters communicate through dance, letting movement replace language as they pursue each other and their prey.

Experimental animation by Nicholas Nedelkopoulos

A compilation of avant-garde artwork and talent of the mid to late 20th century hosted by Ryuichi Sakamoto.

Brief history of the video artist and the history of the video

In Untitled (Pink Dot), Murata transforms footage from the Sylvester Stallone film First Blood (1982) into a morass of seething electronic abstraction. Subjected to Murata's meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital sludge, presided over by a hypnotically pulsating pink dot.

Walter Ungerer's A Warm Day Comes After A Cold Winter is among a series of experimental films the filmmaker created in the 90s that utilize computer animation and assorted "lo-fi" video artifacts.

Experimental video art shot in the Wallingford neighborhood of Seattle

Experimental video art compiled from video taken on an LG Env3 flip phone circa 2009-2010

The innovative and influential British filmmaker Derek Jarman was invited to direct the Pet Shop Boys' 1989 tour. This film is a series of iconoclastic images he created for the background projections. Stunning, specially shot sequences (featuring actors, the Pet Shop Boys, and friends of Jarman) contrast with documentary montages of nature, all skillfully edited to music tracks.

Computer imagery dances before a techno soundtrack.

Light is the first bodily form pays homage to the philosopher of light, Robert Grosseteste. The title is intended to be somewhat tongue-in-cheek since this video was made entirely in the dark, using only a circuit bent Webcam. No additional computer effects were added to the video. The music is the song “Rain Serenade” by Natural Snow Buildings.

Guy Ben-Ner, one of Israel's foremost video artists, gained international recognition with a series of low-tech films, starring his family in absurdist settings carved out of their intimate spaces and their everyday surroundings. Many of his videos are inspired by screenplays for films, folktales and novels. Analyzing these literary and cinematographic passages allows him to exploit the conventions of film narrative: how to tell a story, captivate an audience through a tale, sustain a degree of tension and entertainment, and so on. At the same time, he corrupts the magic of fiction by openly showing us the entrails of everything he records, without worrying about revealing the tricks of the trade. A large part of his filmic oeuvre features a conglomeration of cinematic and literary references which the artist quotes, adapts or interprets. Ben-Ner self-referentially links the great themes and their literary, cinematic and artistic realization.

A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.

"In an effort to explore the flexibility of Telidon, Canada's videotex system, Pierre Moretti, animation artist from the National Film Board, used, in the graphic mode, the geometric figures which form the basis for Telidon's picture description instructions. Thus he created this short animated film."