Obscure signs portend a looming, indecipherable slump.  An oracular decoding of the landscape. Made in collaboration with composer Olivia Block, and by invitation of the Chicago Film Archives, utilizing solely films from their collection. (DS)

Springtime along the Mid-Atlantic, thousands of horseshoe crabs spawn on beaches under the glow of the full moons. LIVING FOSSIL is just a brief glimpse into this 450-million-year-old ritual. (SH)

Sixteen—at least—ideas and images in search of a trajectory. The voice you hear is your own, interrupted and ruptured, while a little real-life actualizing is all they need. Frank Stella, Phreak Headroom, Robert Creeley, Quixotic Tivoli, the demography of the Sitcom Set, Pizza Burger Covers and and. My favorite parts are when the permeability of the screen is made clear: when the diegesis becomes our world and when cinema's prosthetic memory becomes a site for immortality. For Jonah Adels. (JM)

The colour fields that comprise New Ratio involve a tense relationship with the edge of the screen. The piece explores the move from the 4:3 screen ratio to 16:9, which is now effectively the standard for broadcast television and video. In the construction of New Ratio each colour was assigned a particular tone: white was attributed a standard 1KHz test tone; the pitch of the tone attributed to blue was half that of the test tone; and each of the colours in between (in descending order of luminance) were attributed tones at intervals between these values. The video comprises two simple repeating sequences, which are fundamentally the same duration.  However, one sequence includes an additional frame of black that throws them out of synch causing a phasing that effects different mixtures of colour and a range of tone combinations. In commenting on this piece Sean Cubitt  has suggested that the equal mixture of additive and subtractive colours is effectively a 'democratisation of colour'. (SP)

An expanded view of the lunch crowd at an open-air restaurant, from a brid's-eye of the exterior to the depths of the interior. (ZE)

An internalized collage film which started with the found vacation film someone gave to me many years ago. The script I recorded for the film was resistant but the photographs of Man Ray, Paul Outerbridge and the soundtracks from Bruce Lee films attached themselves. Voice Jim Fletcher. (KY)

Stream is a work that explores the analogy of water and the internet. The structure and movement in the browser window become a rigid framework that contains and shifts an array of found images and video of water. Waterfalls, torrents, rivers, creeks and streams of data flow down the screen. An interplay of fluid and rigid. (JH)

Juxtaposing gorgeous 16mm footage shot in Harlem and Salvador, Brazil (the last city in the Western hemisphere to outlaw slavery) Many Thousands Gone meditates on the disparate histories of slave culture and celebrates endurance. (EA)

Between Los Angeles and San Diego, California, a moment in a story by Bioy Casares finds a man who prefers driving to making love to Veronica. Crossing desert and sea, screen and page, we pass over that which cannot be said, only shown. (LL)

Habitat explores the visual and sonic relationship between modular synthesis and simulated space. Ratté uses her signature modulator technique to intricately layer a series of moirés and checkerboards that bring depth to the otherwise flat surface of the screen. Ratté bends the signal of the video itself to carve out corridors of an undetermined distance. The simplicity and exactness of the vertical lines that dance across the screen suggest a kind of transcendental arrival at a near-perfect modular frequency where the input and output harmonize. With an elegant score by long-time collaborator Roger Tellier-Craig. – Nicholas O’Brien

A spectacle for prismatic spectacles. Handmade optical polyrhythms and a thousand rainbows explore the grating equation. (JM)

Mystical and unknown territories are explored from macrocosmic to worlds as seen through a microscope… Man-made landscapes, mediated through technology, merge with the realm of the real in this imaginary terrain, as a series of transmutations take place. Science and the Natural World collide. Glow cat, part land animal and part sea creature, makes an appearance as a chimera bringing a healing presence in this realm of sinuous permutations. (KL)

Red Mill (Rode Molen); a research into motion picture printing techniques. Starting point and inspiration for the film are the mill paintings of Piet Mondriaan, especially Rode Molen. In the film color is created by multiple exposures through different masks during printing. Depending what developing process is used the colors mix in two ways: additive or subtractive. (EU)

A hypnosis-inducing pan-geographic shuttle built on brainwave-generating binaural beats, Deep Sleep takes us on a journey through the sound waves of Gaza to travel between different sights of modern ruin. Restricted from travel to Palestine, I learned auto-hypnosis for the purpose of bi-locating. What results is a journey, recorded on Super 8mm film, to the ruins of ancient civilizations embedded in modern civilization in ruins, to a site ruined beyond evidence of civilization. Deep Sleep is an invitation to move from the corporeal self to the cinema space in a collective act of bi-location that transcends the limits of geographical borders and plays with the fallibility of memory. (BA). Presented by the Video Data Bank.

Moon Blink was entirely generated by complex software, no camera was used. The result of this formal method is an abstract digital artwork that not only manages to convince thanks to its mathematical precision, but primarily also due to its incredible beauty and surprising narrative structure. Comparison to the classic abstract films from the 1920s by, for instance, Ruttmann, seems justified. (IFFR)