Generation

Direct animation on 35mm.

Experimental animation film, with a visual focus on geometrical shapes and straight lines

A visual and acoustic reflection about perception, deception, truth and the medium of film itself. Between visibility, irritation, structure and dissolution, a space arises for one’s own vision. An experimental film that wants to be experienced.

A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.

Teenage math whiz Kenji Koiso agrees to take a summer job at the Nagano hometown of his crush, Natsuki. When he arrives, he finds that her family have reunited to celebrate the 90th birthday of their matriarch. His job: pretend to be Natsuki's fiancé. Meanwhile, his attempt to solve a mathematical equation causes a parallel world's collision with Earth.

“Surplus Intelligence” is a film that was written by Artificial Intelligence, simulated on a game engine, and directed by Miao Ying. Using Machine Learning Text Generation Neural Networks and Generative Pre-trained Transformer 3, the artist trained the AI to study different styles of writing, including behavioral psychologist, B. F. Skinner’s utopia novel, “Walden Two"; the most popular Chinese online novel style “ 霸道总裁体 ”/ soft-core sadomasochistic Cinderella story depicting a domineering boss; opposing ideological theories; and bible stories.

A lensless exploration of hair on 35mm film.

This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, colour filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.

Tells the early history of how conflict began between the humans and machines. Part 1 of 2.

The battle for Earth turns against the humans, despite their infamous desperate act of blackening the skies.

Video art by Vibeke Sorensen made at Calarts in 1989

A disturbing cinematic opera from Melbourne film-maker, Michael Lee, presenting an intense emotional collage of film clips, original footage and complex object animation, structured loosely in the form of a Catholic Mass, to communicate the film-maker's traumatic Catholic experience. The film is intended in part as 'anti-imagery' in response to the iconography of Catholicism.