Sailboat
Joyce Weiland, Canada, 1968, 5mins

[Joyce Wieland] directed such classics as Sailboat (1968), a minimalist, playful and profound film consisting of a series of shots of a sailboat moving across the screen with the word 'sailboat' titled across the top. In its simplicity, the film draws attention to the screen and to the perimeters of the frame. Moreover, the titles destroy any illusion of reality, underscoring the flatness of the screen.
— Barbara Goslawski

Petrolia
Emily Richardson, UK, 2005, 20mins, sound by Benedict Drew

Petrolia takes its name from a redundant oil drilling platform sat in the Cromarty Firth, Scotland. The film looks at the architecture of the oil industry along the Scottish coastline where oil and gas supplies are predicted to run dry in the next forty years.

Shooting on 16mm film, using time lapse and long exposure techniques, the film presents a record of industrial phenomena, - the toxic beauty of the refinery at Grangemouth, huge drilling platforms gliding across the water as they come in for maintenance and repair at Nigg and the last dance of the shipbuilding cranes in Glasgow harbour.
— Emily Richardson

Capitalism: Slavery
Ken Jacobs, USA, 2006, 3mins

An antique stereograph image of cotton-pickers, computer-animated to present the scene in an active depth even to single-eyed viewers. Silent, mournful, brief.

Gas Station
Robert Morris, USA, 1969, 34mins, double screen 16mm

A Southern Californian gas station is observed over time from fixed and moving perspectives, exploring the distinction between the human experience of space and the 'objective' perspective of the camera.
— Lux

Reflexion Bird
Cedrick Eymenier, France, 2007, 3mins., sound by Joe Gilmore

A bird, a mirror, a reflection - shot on the Ishigaki Islands in Japan in 2005.

Faux Mouvements
Pip Chodorov, France, 2006, 12mins.

Images from a train – forward and backward motions occur together and opposing directions are combined to create a spiraling hinterland of colour, motion and volume.
— William Rose

Half-life (Part 1)
Visuals by Brian O'Reilly, sound by Curtis Roads, USA, 1999, 4mins.

Originating as an electro-acoustic sound work by acclaimed composer Curtis Roads, Half-life explores the birth, replication, mutation and decay of sound particles. Brian O'Reilly's fragmanted visual interpretations consider the original sound in the context of the screen.