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.
2025

Peter Larsson’s Keyhole Conversation draws the eye down to the small gate of the camera. From there, through quivering and percussive forms of direct and stop-motion animation, the eye begins to experience the scale of an image anew. At times segueing into a flicker, but maintaining a charmed form of attention to the marks of pencils and the channels dredged in emulsion by a paintbrush, all to a curious soundtrack of pulses and bleeps.
2025

A person living in Liberty City goes to work, have some food & gets back home.
2024

A hand moves gently, its presence shifts continuously.
2024

The weird hand creatures undergo different transformations in synchrony with the music.
2021

From the film-almanac on musical works of classics for children "Children's Album". A little film about genesis.
2020

Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, spawning arrays of divisional articulations in time and space.
2017

A trip towards abstraction, as an hypothesis on how mountains might have been formed.
2016

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

A burst of cheer and refreshment that it seems perfectly suited to a late July afternoon.
2014

The screen is divided again and again until the picture arranged in ever changing strips bursts into whirring dynamic.
2013

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.
1981

Two Space systematically explores symmetries used by Islamic artists to create abstract temple decorations. The two dimensional patterns, like the tile patterns of Islamic temples, are generated by performing a set of symmetry operations (translations, rotations, and reflections) upon a basic figure or tile. Two Space consists of twelve such patterns produced using each of nine different animating figures (12 x 9 = 108 total). Rendered in stark black and white, the patterns produce optical illusions of figure-ground reversal and afterimages of color. Gamelan music from the classical tradition of Java adds to the mesmerizing effect.
1979

Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.
1978

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.
1974

An abstract computer-generated film. The image is of squares revolving in space around and through each other. Colors and forms multiply and divide against a beautiful symphonic score by George Kleinsinger.
1973

In Wiertz and Verbeek's kinetic, kaleidoscopic opus Keep on Turning (1974, 3 min, 16mm, sound) cubes convey, rotate and shift in tandem.
1972

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.
1957

Len Lye usually timed his films with great care to match their soundtracks, but for All Souls Carnival, he and composer Henry Brant worked separately, preferring to see if the score and visual track would synchronise by chance. Lye also experimented with a new Direct Film technique, drenching the filmstrip in colourful paint and marker pen.
1957

A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.
1953