Aérobie

A burst of cheer and refreshment that it seems perfectly suited to a late July afternoon.

Torn from their home by a hand in the sky, colorful entities seek freedom from a rigid binary in this short experimental animation.

An abstract computer-generated film. The image is of squares revolving in space around and through each other. Colors and forms multiply and divide against a beautiful symphonic score by George Kleinsinger.

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.

The screen is divided again and again until the picture arranged in ever changing strips bursts into whirring dynamic.

A mathematical play on one repeated movement. It imparts a sense of possibilities: that something simple can produce complex and unexpected patterns. As with an atom, the variety of possibilities from a base movement is potentially infinite.

A trip towards abstraction, as an hypothesis on how mountains might have been formed.

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 Flesh Flows we see a balance of Beckett’s keen drawing ability, in the probing erotic forms, and his technical acuity, which transforms the carnal images into a compelling, transcendent experience. Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.

Three books: a film festival catalogue, a dictionary, the Bible. Three works whose materiality has become obsolete by the digital dematerialization. A commentary on the fragility of culture.

This is no animation, it's one picture. Short experimental film by Mirai Mizue

Serlasanha

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.

Hand painted directly onto film stock by Margaret Tait, this film features animated dancing figures, accompanied by authentic calypso music.

The weird hand creatures undergo different transformations in synchrony with the music.

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.

This newly rediscovered short was created in Jim's home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.

An abstract animated film inspired by the work of jazz musician Chico Hamilton.

A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.