MÜ : Architectures protéiformes

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NLOOPS(en)

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Video art by Vibeke Sorensen made at Calarts in 1989

Mandala
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1953-01-01

Scroll paintings prepared like film strips with successive images.

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Wind
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Photos taken with pinhole camera, sky + clouds. Swirling animation like smoke against a black background.

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Vivid, chromatic animation.

Sausage City
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Sausage City(en)

1974-01-01

Sausage City illustrates Beckett's additive cycle process. Constantly evolving rectangular shapes provide a foundation for an environment inhabited by mutating blobs - or sausages. Sounds and shapes create a moving space that teeters on the edge between control and chaos. The ending is somewhat mystifying, pulling us out of the surreal environment and revealing its origins. Preserved by the Academy Film Archive in 2007.

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No. 11: Mirror Animations
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In the year 2029, the barriers of our world have been broken down by the net and by cybernetics, but this brings new vulnerability to humans in the form of brain-hacking. When a highly-wanted hacker known as 'The Puppetmaster' begins involving them in politics, Section 9, a group of cybernetically enhanced cops, are called in to investigate and stop the Puppetmaster.

Touch
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Touch(en)

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Spheres
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Spheres(en)

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This animated short is a play on motion set against a background of multi-hued sky. Spheres of translucent pearl float weightlessly in the unlimited panorama of the sky, grouping, regrouping or colliding like the stylized burst of some atomic chain reaction. The dance is set to the musical cadences of Bach, played by pianist Glenn Gould.

Aquarelles
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Aquarelles(en)

1980-01-01

Computer imagery dances before a techno soundtrack.

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High Voltage
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High Voltage(en)

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High Voltage is constructed from footage James Whitney contributed to Belson for use in one of his Vortex concerts.

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Everybody Dies(en)

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Obmaru
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Obmaru(en)

1953-01-02

"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.