Orogenesis

A film about uncanny valleys and the space between. Painted 16mm film undergoes a monstrous transformation becoming neither analog nor digital.

In this animated short, simple geometric forms as thin and flat as playing cards constantly form and re-form to the sound of the koto, a 13-stringed Japanese instrument.

A lensless exploration of hair on 35mm film.

It is a 2D experimental animation which is accompanied by the music, “Pulse At The Centre Of Being” composed by Max Cooper. Beautiful things happened inside a human through different combinations of flowers, organs and body parts.

The screen is divided again and again until the picture arranged in ever changing strips bursts into whirring dynamic.

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.

Sixteen 'objects', each consisting of one hundred points of light, perform a series of precisely choreographed rhythmic transformations. Accompanied by the sound of a Shakuhachi (the Japanese bamboo flute), the film is an exercise in the visual perception of motion and mathematical structure.

The story of Adam and Eve with jazzy music. Short experimental animation without words.

Jane Conger Belson Shimane's first film, Logos, premiered in 1957 and was screened at festivals in North America, Europe, and Latin America. The animated film featured an electronic score by Henry Jacobs. Preserved by the Academy Film Archive in 2001.

A unique journey across a topography created entirely from a form of digital light and shadow—a bristling terrain of poles bending the light in every direction. This film is the remake of Barcode, an abstract road-movie about light and shadows.

In Flesh Flows we see a balance of Beckett’s keen drawing ability, in the probing erotic forms, and his technical acuity, which transforms the carnal images into a compelling, transcendent experience. Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.

Odds & Ends is a sly comment on the collage film and Beat culture. To discarded travel and advertising footage found at a local film laboratory, Belson Shimane added a mélange of animation—assemblages, cutouts, color fields, and line drawings—and faux hipster narration by Jacobs (credited via the anagram Rheny Bojacs) punctuated by a bongo backing. Strung together with doublespeak and non sequiturs, the monologue skirts the edge of nonsense as Jacobs waxes on about poetry, jazz, “reaching the public,” “having a good time,” and—although “money doesn’t count”—the “possibility of subsidy” through grants. Footage of champagne, tropical beaches, and exotic peoples intermingle with rhythmic drawings and stop-motion flights of fancy. The visuals race on through dazzling transformations, both amplifying and undercutting the patter. —National Film Preservation Foundation. Preserved by the Academy Film Archive in partnership with Iota Center Collection in 2006.