The screen is transformed into a surface, channeling a myriad of textures from vibrant fabrics, verdant fields, and prismatic crystallography to the materiality of the image itself: the film strip and the pixel.

Razzle Dazzle
Jodie Mack, 2014, 5m

Tacky threads luminesce at a firefly’s pace, twinkling through remnants of chintzy opulence and gaudy glamour prestissimo brilliante. (Jodie Mack)

Wasteland No. 1: Ardent, Verdant
Jodie Mack, 2017, 5m

A eulogy for wasted potential sends the out of date to the out of body: trash to treasure. An appetite for destruction charts the product life cycle, interrupting the horizon through an intersection of perspectives. (Jodie Mack)

Lattice
Maria Constanza Ferreira, 2016, 3m

Iridescent waves, geometrical gardens, and spiraling sand dunes found in the landscapes of a crystal's microscopic structure. (Maria Constanza Ferreira)

Via
Maria Constanza Ferreira, 2018, 7m

Via is the result of a year long investigation into how we connect with the material world through digital images. Consulting with a Remote Sensing Scientist, I studied macro-geographic visual structures and surveyed the earth digitally while collecting thousands of images. This film features imagery collected through Google Street view from seemingly infinite one point perspective roads from all around the world as well as digitally manipulated satellite photographs found through Google Earth and the United States Geological Survey Database. (Maria Constanza Ferreira)

Extrapolate
Johan Rijpma, 2016, 2m

In this hand drawn animation a line is being extrapolated through a grid. When the line surpasses the boundaries of the grid, the process spreads to and reflects on its surroundings. Beyond each boundary the extrapolation of movement is causing deformation in a systematic but speculative way. (Johan Rijpma)

Paper Trail, Mind Frame, Night Vision, Head Space
Jake Fried, 2014-2017, 4m

Hand-drawn ink and white-out films that incorporate dense imagery and symbolism across a rapidly changing field of view, all photographed frame by frame through nearly 1,500 layers. (This is Colossal)

syn.mod.3
Ryoichi Kurokawa, 2015, 2m

A hypnotic swell of sand appears to deliver and dissolve these beautifully choreographed animations onto black. For syn_mod.3 Kurokawa generates these molecule life forms that appear to dissolve to dust, as they twist and turn in space. Before the sequence and sound changes tack, and the animated images unexpectedly accelerate into a crescendo of alternating visuals. Snapping into another incredibly complex creature that hovers before disappearing from view. All of which take places against a backdrop of Kurokawa’s corrosive sounds and technical interference, that appears to want to get the better of life itself. (Sedition)

The Mess
Peter Burr, 2016, 14m

This film follows the perspective of a solitary woman who descends into an abandoned subterranean ‘arcology.’ She is tasked with cleaning up the mess that has spawned from this feral structure, becoming lost in the process. (Peter Burr)

Superduper
Thomas de Rijk, 2011, 5m

Superduper is research into retro 3d graphics and nostalgia. Both visuals and soundtrack aim to recreate a feeling of first contact with video games and early anime.

1.4 — YSRT50
Yoshihide Sodeoka, 2016, 5m

YSRT50 is a collaborative project between Yoshi Sodeoka and Rain Text. Four audiovisual pieces built around the music of Rain Text's "1". (Yoshihide Sodeoka)

Mutation, 6.55 kHz @ -6dB; 7.01 kHz @ -60dB
Yoshihide Sodeoka, 2014, 5m

I was always interested in the idea of making a noise piece that could be remixed and mutated further by people including myself. So this is one of the few that I have been working on. It is abstract, it has no distinctive moment in the flow, and it is anticlimactic. I just wanted to make it noisy-looking but flat in a way so it could be adopted to different purposes. Maybe it’s like a stock footage from a bizzaro world. Or, I should say, it’s an unrelaxing ambient video. (Yoshihide Sodeoka)

Fakeaway Haptics
Sabrina Ratté, 2016, 9m

Synth sights and sounds invite you into a hyperreal world. (Vice)

Actress - Bird Matrix
Nic Hamilton, 2015, 5m

Two love birds turn themselves inside out from within their azure cage slipping in and out of time attempting to synchronise with the manipulated bird songs hidden by Actress within Bird Matrix. (Nic Hamilton)

Untitled No 1
Evan Boehm, Parag K. Mital, 2014, 5m

365 days ago, Parag K. Mital and Evan Boehm collaborated on the following video collage using only images collected from the previous 24 hour news cycle. The entire video was computationally generated from those images over the 24 hours. No post effects were used. (Evan Boehm)

cerco de chapa con hojas secas
Mateo Amaral, 2011 6m

Wind in the jungle, waves of the sea that extend as much as the internal senses can reach and much more as well. A tin fence is making dry leaves noises, that fence divide memories. (Mateo Amaral)

Highview
Simon Liu, 2017, 20m

Personal moments are lost in film cuttings or disappear into a coloured fog only to suddenly reappear in a new constellation. This is the visual richness of Highview: four, partially overlapping, 16mm images that fully coalesce into a colourful abstract painting but also create a narrative as an exploded montage (Simon Liu/IFFR)

Kosmos
Thorsten Fleisch, 2004 5m

Crystals grown on 16mm film. Mystical qualities shine straight to the screen. Unfiltered, only aided by light which gracefully breaks its rays into rich visual textures. (Thorsten Fleisch)

Surface ii
Sam Spreckley, 2012, 2m

Surface ii is an experimental moving image work focused upon several concepts. In one sense it is a visual experimental journey that discovers and plays with the notions of the celluloid surface, the ways specifically it can be physically manipulated. In another sense it is a study of image and sound, every visual detail is paired with its own unique sound sample which creates an almost hypomanic sensation where even the smallest detail takes on a new sense. The work also questions decay in a literal sense but also beyond the surface, the degradation of a medium and a time. (Sam Spreckely)