Let X Equal X

Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow that pulsates off the screen into our physical space with blinding intensity. The presence of light is almost felt as we are sucked into the image to become its ghostly accomplice. As we leave the theatre, the optical vibrations continue to haunt us.

In Wiertz and Verbeek's kinetic, kaleidoscopic opus Keep on Turning (1974, 3 min, 16mm, sound) cubes convey, rotate and shift in tandem.

A swarm of forms, reminiscent of alien spaceships or mechanical bats suspended in space.

A stunning piece of imagined night cartography rendered in an intricately crafted digital filigree.

A deep dive into a snowstorm of structural chaos and a blizzard of exploding gestural animation.

An exploration of the relationship between sound and picture inspired by the two lights (twi-light) found inside film projectors.

Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.

The story of Adam and Eve with jazzy music. Short experimental animation without words.

“[T]he sense of moving forward [in space or time] alternates with a sense of expansion and contraction, as the finished cycle [of movement] returns to itself and rushes to catch up with its successor.” (Gadassik) Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.

A unique journey across a topography created entirely from a form of digital light and shadow—a bristling terrain of poles bending the light in every direction. This film is the remake of Barcode, an abstract road-movie about light and shadows.

A horse goddess gives birth to three powerful brothers who set out into the Underworld to save three princesses from three evil dragons and reclaim their ancestors' lost kingdom.

Len Lye usually timed his films with great care to match their soundtracks, but for All Souls Carnival, he and composer Henry Brant worked separately, preferring to see if the score and visual track would synchronise by chance. Lye also experimented with a new Direct Film technique, drenching the filmstrip in colourful paint and marker pen.

Mamori transports us into a black-and-white universe of fluid shapes, dappled and striated with shadows and light, where the texture of the visuals and of the celluloid itself have been transformed through the filmmaker’s artistry. The raw material of images and sounds was captured in the Amazon rainforest by filmmaker Karl Lemieux and avant-garde composer Francisco López, a specialist in field recordings. Re-filming the photographs on 16 mm stock, then developing the film stock itself and digitally editing the whole, Lemieux transmutes the raw images and accompanying sounds into an intense sensory experience at the outer limits of representation and abstraction. Fragmented musical phrases filter through the soundtrack, evoking in our imagination the clamour of the tropical rainforest in this remote Amazonian location called Mamori.

A film about uncanny valleys and the space between. Painted 16mm film undergoes a monstrous transformation becoming neither analog nor digital.

Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, spawning arrays of divisional articulations in time and space.

In this animated short, simple geometric forms as thin and flat as playing cards constantly form and re-form to the sound of the koto, a 13-stringed Japanese instrument.

A person living in Liberty City goes to work, have some food & gets back home.

D'art moderne

A film unmade-- That is, Survage's film was never realized in the traditional sense-- At the time, such a project was beyond technological possibility. His pioneering efforts to combine luminous, expressive painting and the moving picture were further curtailed by the outbreak of WWI. Some have taken it upon themselves to 'animate' his watercolor plates in attempts to set his dream into motion.

Burr creates a slow, liminal illusion in black-and-white, switching perspectives and matrices and crescendo-ing in time with Christopher Doulgeris’ portentously pulsating soundtrack.