Black-and-white abstract animated short of light, shadows, and reflections by The Dodals (Karel Dodal (1900-1986) in collaboration with his wife, Irena Dodalová).
Music: Carl Stone. Colored pen-and-ink drawings, like topological maps of biomorphic objects, grow and evolve from the red star. Once the master image is formed, this continuously throbbing, pulsating sight is used to ring changes based on years of optical work. Music and picture work together to create a mood of ecstatic tranquility. The bright colors, beautiful music, surprise at the end, etc. make this a good film for young children. Awards: Sinking Creek Film & Video Festival, 1973; Washington National Student Film Festival, 1974; Brooklyn Independent Filmmakers Exposition, 1974; Vanguard Int'l Competition of Electronic Music for Film, 1974; Humboldt Film Festival, 1974. Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.
Scroll paintings prepared like film strips with successive images.
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.
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 categorical accumulation of abstract patterns. Lines, colours and sounds obey an impenetrable logic. A quiet film that dares to be resolutely experimental. Chaotic equations by the Chinese mathematician Wang Lin are tackled by an analogue computer, a small battery of surplus high-frequency oscillators and Joost Rekveld.
Cut up animation and collage technique by Harry Smith synchronized to the jazz of Thelonious Monk's Mysterioso.
High Voltage is constructed from footage James Whitney contributed to Belson for use in one of his Vortex concerts.
Sketch Film #3 (Tomonari Nishikawa, 2006, 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.
"Marx was born in Queensland, Australia, and was a landscape painter and model there before moving to San Francisco. However, when she arrived, she found herself in the midst of fascinating non-objective painting and filmmaking activity. She was greatly influenced by the work of Harry Smith and Jordan Belson, and changed her own style to non-objective, receiving graphic inspiration from Jungian brain drawings, symbols in the occult sciences, and the design used by Eastern cultures, all of which being important elements in the San Francisco school mystical school of non-objective art." -Robert Pike, A Critical Study of the West Coast Experimental Film Movement. Preserved by the Academy Film Archive in 2000.
An interactive flash animation from Dutch digital artist Han Hoogerbrugge.
A space occupies it, awaiting to be unlocked by a freeing action or notion. What lies ahead is its determination.
An attempt to visualize higher dimensions and unearthliness, taking into account these concepts' heightened awareness, when attempting to process or predict the end of the world.
Computer imagery dances before a techno soundtrack.
This animation can be watched in 2D or using Chromadepth Glasses in 3D.
A trip towards abstraction, as an hypothesis on how mountains might have been formed.