A deep dive into a snowstorm of structural chaos and a blizzard of exploding gestural animation.
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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.
An exploration of the relationship between sound and picture inspired by the two lights (twi-light) found inside film projectors.
A perfect blending of the art of maths and the maths of art.
A sequence of hand-drawn experiments. Constants: visualist, technology, run time. Independent variables: musician, drawing materials, theme. Dependent variables: you tell me!
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.
In Wiertz and Verbeek's kinetic, kaleidoscopic opus Keep on Turning (1974, 3 min, 16mm, sound) cubes convey, rotate and shift in tandem.
A film about uncanny valleys and the space between. Painted 16mm film undergoes a monstrous transformation becoming neither analog nor digital.
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.
The screen is divided again and again until the picture arranged in ever changing strips bursts into whirring dynamic.
Torn from their home by a hand in the sky, colorful entities seek freedom from a rigid binary in this short experimental animation.
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Sketch Film #3 (Tomonari Nishikawa, 2006, 3 min., super 8, silent, 18/24fps, b&w, USA/Japan) The third film in the series, which starts with a sequence of paired images: a focused image and a blurred image of the same subject, which was caused by a diagonal camera movement. Later, it shows an experiment to produce an apparent depth by rotating an apparent shape. It was edited in camera and hand-processed afterwards.
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.
This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, colour filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.
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.
These are work-in-progress elements of some commercial projects and a film to be titled, Knotte Grosse. Beckett received an AFI Independent Filmmakers grant to produce Knotte Grosse but it was unfinished at the time of his death. The images allude to computer-generated graphics (but are not) and foreshadow an interesting direction in his work. - Pamela Turner
Animated work detailing the unrequited love that a line has for a dot, and the heartbreak that results due to the dot's feelings for a lively squiggle.
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.
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