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 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.
2016-05-03
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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.
Schwartz reordered and combined angular contours, broken planes, and distorted proportions in her own pictorial structures in an homage to Picasso's style.
A space occupies it, awaiting to be unlocked by a freeing action or notion. What lies ahead is its determination.
Created as a demonstration of multi-disciplinary thinking, this film was produced in association with UCLA Mathematics professor, Ray Redheffer. With the exclusive use of storytelling through animation this lively and exuberant presentation of the “architecture of algebra,” the film explains the behavior of specific exponents and concludes with the general laws that all exponential expressions obey – all achieved without the use of narration. Council on International Non-Theatrical Events (C.I.N.E.) Gold Eagle Award, 1975. Columbus International Film Festival Bronze Chris Plaque Award-C, 1975. New York International Animation Festival Bronze Praexinoscope Award, 1975. Melbourne Film Festival Selected for Participation, 1976.
An artistic animated short showing the life in secondary school.
Tribute to director, screenwriter and actress Sarah Polley. A whimsical, playful film tells the story of the kinds of stories Polley tells, using humorous, simple line animation, the film comments on the messiness of life and art.
Melbhattan. Melbhattan is part homage, part pastiche of the opening sequence of Woody Allen's seminal 1979 film Manhattan. Melbhattan features more than sixty black and white tableaux of Melbourne each composed to mimic images in Allen's film.
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).
Scroll paintings prepared like film strips with successive images.
An attempt to constitute a human / machine dialogue. It shows the filmmaker’s blood as seen / heard with the eyes / ears of the machine which is a film projector with optical sound. He affixed his blood onto clear film leader by cutting into the flesh and then pressing the film leader onto the wound. Additionally he had blood taken with a syringe and afterwards dripped it on the film leader. fresh and clotted blood was used.
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.
An abstract animation with a motif of a dragonfly, and a complex multi-exposure landscape of a field and a woman's naked body overlap.
Shapes projected onto an abstract environment. The movement and scale of the forms in the film is a beautiful equivalent of the dynamics of the soundtrack
Made entirely on Roger Wagner's HyperStudio software, Chris Marker explores set theory, using Noah's Ark as an example.
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.
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.