Highlights

10 minute experimental film. Warning: this video involves frequent strobing.

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

Wax and wane until there is naught but boring pain.

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

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

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.

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.

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

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

'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.'

Time plods along in spattered irregularities as anger and depression coalesce in confusing amalgamations.

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

Scroll][Stop{{Scroll}}Stop/}{~Scrollllllll

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.

Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.

Hiding inside&out, writhing about, taken out&in.

This cacophony runs over me, over everything I see, everything I want to see: it's me.

There is nothing left to do but complain.

As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.