_ImEdge

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 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.

A sequence of hand-drawn experiments. Constants: visualist, technology, run time. Independent variables: musician, drawing materials, theme. Dependent variables: you tell me!

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

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.

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

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.

D'art moderne

Jane Conger Belson Shimane's first film, Logos, premiered in 1957 and was screened at festivals in North America, Europe, and Latin America. The animated film featured an electronic score by Henry Jacobs. Preserved by the Academy Film Archive in 2001.

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.

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.

Abstract animation by Boris Labbé

Abstract animation by Boris Labbé

Abstract animation by Boris Labbé