This lavishly embellished, comically operetta CGI fantasy story takes place in the Indian Ocean, where a flock of “piranha birds” has settled on the back of an octopus. When an octopus is starved, it feeds on birds on its back, but because it is already threatened with…
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As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.

On a small Kalahari farm things look bleak. It hasn't rained for ages and the well has run dry and the residents are just about hanging on with what little they have. As the farmers' daughter prepares to gamble on the final few seeds they have left something appears on the horizon which could be the salvation they have been praying for.

“Trigger Happy” was made with hundreds of objects found on the streets and sidewalks of New York. It began as an attempt to make an animated ballet, but as I was shooting the dance turned rowdy, into more of a nocturnal revel. It was shot on a lightbox with high-contrast film. The backlight silhouetted the objects, making them into graphic icons of themselves. The resulting film is a negative, which turned the objects white and the background black as asphalt. It makes the dance almost phantasmagoric. The trigger I was happy about was on the camera, but the title also fits the velocity of the imagery. Much of the animation happens by the rapid replacement of one object with another. It’s the afterimage in your eyes that animates the difference between the shapes, as one is replaced by another, and another… The music by Shay Lynch perfectly captures the idea of dancing in the streets.” —Jeffrey Noyes Scher