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.
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Borrowing its title from a treatise by Aristotle, the latest film by Makino Takashi is an abstract work that finds its drive in the clash between light and darkness. Entirely composed of superimposed images of Tokyo’s landscape and water sites, the film takes its rhythm from the cycles of repetition that are the pillars of life and civilisation. As light emerges from the chaos, Jim O’Rourke’s ambient drone sets the tone for what is to come.
A trip towards abstraction, as an hypothesis on how mountains might have been formed.
A person living in Liberty City goes to work, have some food & gets back home.
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.
Bizarre abstract stop-motion animation questioning traditional values in a period of great social upheaval.
A burst of cheer and refreshment that it seems perfectly suited to a late July afternoon.
A student finds out he is late for his train.
Death takes centre stage and faceless spectators applaud the inevitable in a series of murderous dreams.
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.
Two Space systematically explores symmetries used by Islamic artists to create abstract temple decorations. The two dimensional patterns, like the tile patterns of Islamic temples, are generated by performing a set of symmetry operations (translations, rotations, and reflections) upon a basic figure or tile. Two Space consists of twelve such patterns produced using each of nine different animating figures (12 x 9 = 108 total). Rendered in stark black and white, the patterns produce optical illusions of figure-ground reversal and afterimages of color. Gamelan music from the classical tradition of Java adds to the mesmerizing effect.
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.
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.
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.
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.
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 lensless exploration of hair on 35mm film.
A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.
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.
An abstract animated film inspired by the work of jazz musician Chico Hamilton.
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.
