Mutations
Lillian Schwartz, 1972, 7mins, USA, MiniDV, colour, sound by Jean-Claude Risset

Lillian Schwartz is an early pioneer in the use of the computer in the Arts and was a consultant at the AT&T Bell Laboratories. Mutations is based on computer images, laser beams diffracted in plastics, and crystal growth in polarized light. The film features a stunning soundtrack by Jean-Claude Risset.

http://www.lillian.com

Poetry and Truth
Peter Kubelka, 2003, 13mins, Austria, 16mm, colour, sound

Poetry and Truth features 12 stories; 12 sequences, each composed of one shot that is repeated in three, or five, or a dozen variations. Each take captures a movement from a stasis to motion and back again. For Kubelka, the repetition of physical movement - as in dance, as in film, as in life - is the fundamental law of the universe, from which even civilization's most complex systems derive. – Alexander Horwath

Short Film Series
Guy Sherwin, 1975-2004, 4x3mins, UK, 16mm, bw, silent

An interconnected set of 3 minute films, in which the structure of each one becomes apparent through the process of watching. "100' reels of epiphanies, time-lapse studies, ordinary objects and scenes rendered strange and ambiguous."
– Michael O'Pray

Cibernetik 5.3
John Stehura, 1963-66, 9mins, USA, colour, sound

Perhaps the first digital computer animated movie ever made and probably the only example of an artificial Intelligence used to simulate a filmmaker. An IBM 7094 computer, after being instructed in genetics and graphics, generated approximately 50 billion machine instructions to design the first 2/3's of the film.

Pull My Daisy
Alfred Leslie, 1959, 27mins, USA, bw, sound

Pull My Daisy is a 1958 short film that typifies the Beat Generation. Directed by Robert Frank and Alfred Leslie, Daisy was adapted by Jack Kerouac from a stage play he never finished titled The Beat Generation. Kerouac also provided improvised narration. It starred Allen Ginsberg, Gregory Corso, Larry Rivers and Peter Orlovsky. Based on an incident in the life of Neal Cassady and his wife Carolyn, Daisy tells the story of a railway brakeman whose painter wife invites a respectable bishop over for dinner. However, the brakeman's bohemian friends crash the party, with comic results. – Wikipedia

Alone, Life Wastes Andy Hardy
Martin Arnold, 1998, 15mins, Austria, 16mm, bw, sound

Martin Arnold deconstrucs a classic Hollywood film and turns it into to film music. Alone, Life Wastes Andy Hardy is the eerie, rasping 'silence' of sound film, pregnant with suppressed tension. And exactly at the point where the illusion of full, living present is seemingly at its strongest - in the screen presence of Judy Garland singing - one senses the machine, and, implicitly, death, at work.
– Peter Tscherkassky

http://www.r12.at/arnold/

Dream Work
Peter Tscherkassky, 2001, 11mins, Austria, 35mm, bw, sound

Dream Work, in CinemaScope and black & white, is the same length as a period of deep sleep. The moment at which a woman enters a building, removes her shoes and then her panties (the framing is lascivious), she inevitably becomes both the subject and object. When she falls asleep, she not only falls deeper into the film, the latter penetrates her.

http://www.tscherkassky.at

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