Mr. Thomas is in the back garden, performing his new moves in the glorious sunlight, making things happen. Somewhere between ritual, a white suburban war dance and 1970's "keep fit" exercise to lovely music, Mr. Thomas tries to coordinate with the Black Blob, that persistently undermines the nature of his representational space...

And the song goes:

We've only just begun to live

White lace and promises

A kiss for luck and we're on our way...

A drummer and guitarist on a rooftop high above New York City. A beat, a song, a trance, or just a celebration…? 

The film is a durational performance document, direct but mysterious.

The Double are Jim White and Emmett Kelly. Jim is an Australian drummer known for his work with Dirty Three, Xylouris White, Cat Power, Bill Callahan, and many others. Emmett Kelly is an American guitarist known for his band, The Cairo Gang, and his work with Will Oldham, Ty Segall, and many others.

A video work that documents the annual orchid show at the New York Botanic Garden, Orchid Show critically observes notions of spectacle, gender and beauty as a query into the staging and imaging of nature. For the audio, the sounds of the garden fold into a classical composition for piano, Kaleidoscopic Changes on an Original Theme, Ending with a Fugue (1924) by Ruth Crawford Seeger, one of the few celebrated female composers of the early 20th century.

By subjecting fragments from the Akira Kurosawa’s film Rashomon to a mirror effect, Provost creates a hallucinatory scene of a woman’s reverse chrysalis into an imploding butterfly. This physical audiovisual experience produces skewed reflections upon Love, its lyrical monstrosities, and a wounded act of disappearance.

A high and low fidelity record of obsessions past and present. A hooded man named Cobra Commander (drawn naked) and a boy with black glasses. A fanged woman named Shadow-La and a girl in a rose colored wig. Belinda (Heaven on Earth), Madonna (Live to Tell), and headphones (worn naked). An airport terminal. Home. The Montgomery Ward catalog circa 1980. That orange bedspread, that red flowered couch.

Philip Glass, a pioneer in minimalism in music, gave a two-day lecture at the School of Art Institute of Chicago in 1974. In musical composition, minimalism highlights the repetition of melodic fragments, harmonic progressions, rhythmic structures, etc. Glass’s music is often steady in terms of volume and tempo, then, when introducing slight alterations, the pattern changes become notably audible.

A whimsical science fiction comedy with a soundtrack of pop music and experimental electronica. File under experimental. Play at maximum volume.

In this early Tom Rubnitz, Barbara Lipp and Tom Koken collaboration, "Frieda" performs her rap song with a bevy of dolls as back-up singers and dancers. Features rock-bottom production values and song lyrics by Barbara Lipp and Tom Koken.

In this early Tom Rubnitz, Barbara Lipp and Tom Koken collaboration, "Frieda" performs her rap song with a bevy of dolls as back-up singers and dancers. Features rock-bottom production values and song lyrics by Barbara Lipp and Tom Koken.

In this early Tom Rubnitz, Barbara Lipp and Tom Koken collaboration, "Frieda" performs her rap song with a bevy of dolls as back-up singers and dancers. Features rock-bottom production values and song lyrics by Barbara Lipp and Tom Koken.

Plowman's Lunch is called a documentary because its intent was to explore actual occurrences—be these the building of the work, or what befalls the players. It still uses an open form, but the characters are more developed; they have "names," and some of the scenes were truly dangerous for them to produce. As in the other films (with the exception of Done To) there is a nucleus of three characters—two women (Boris and Jamiee), and one man (Steentje, a tranvestite/hermaphrodite). The music, composed expressly for the piece, is harmonious with its developments.

“A documentary about the Arkestra, but it's one whose presentation reflects the multilevel approach Sun Ra had to music and life in general. Jump cuts and split screens dot the visual stream with home movie footage from the Arkestra in Egypt during the 1970s to the Arkestra of today led by Marshall Allen. Director Ephraim Asili wisely divides the 40 minutes into distinct chapters, illustrating each with band interviews, live footage, visuals of planets and NASA launches, and his voice quoting writings from Ra.

Possibly In Michigan is an operatic fairytale about cannibalism in Middle America. A masked man stalks a woman through a shopping mall and follows her home. In the end, their roles are reversed when the heroine deposits a mysterious Hefty bag at the curb. Like Condit's other video narratives, Possibly In Michigan shows bizarre events disrupting mundane lives. Combining the commonplace with the macabre, humor with the absurd, she constructs a world of divided reality.

Capitalizing on the visual aspect of musical performance, Quad Suite explores the essential link between the image of music and its sound. In Six Vibrations, the camera is riveted to a close-up of the four upper frets of Landry’s guitar, maintaining an image of the sound easily identified with the gridded field paintings of Agnes Martin. In Hebe’s Grande Bois, Landry improvises on a bamboo flute as the camera frames his mouth, again in extreme close-up, in the center of the screen. There is something sensual, almost obscene, about Landry’s lips.

A small Italian town on a seemingly distant hill appears like an architectural model illuminated by interior lighting. Suddenly, sounds seem to cancel the distance, suggesting nearness. Places and actions appear in miniature, animated by the light that is switched on and off. The whistling of the wind and the sounds coming from the town increase. A voiceless aria reverberates through the landscape in the absence of light.

—International Kurtzfilmtage Winterthur, 2015

Representing the complex lives of transgender and gender variant musicians in the US and Canada, Riot Acts offers a first-hand perspective of the intersections between gender performance and stage performance. The featured performers are talented, inspiring, sexy, critical and three-dimensional in a manner that purposefully counters mainstream media. Discussions range from songwriting, performance, voice presentation and voice changes, passing/not passing, audience, to the idea of the spectacle, drag, and media representation - the personal is always political.

“Animists are people who recognise that the world is full of persons, some of whom are human, and that life is always lived in relationship with others.”

-- Graham Harvey, Animism

Trance dance and water implosion, a kino-line drawn between secular freak-outs and religious phenomena. Filmed in a single take at a sacred site on the Upper Suriname River, the minor secrets of a Saramaccan animist's everyday are revealed as time itself is undone. Rites are the new Trypps -- embodiment is our eternal everything.

Inspired in part by the cover of "Megatron Man," Patrick Cowley's archetypal 80s disco album, Robot Love is a celebration of the playful, synthetic, party-driven, disposable culture of disco. The video is playful and opulent, presenting a night at the disco as a mind-expanding trip to an alternate universe.

Inspired in part by the cover of "Megatron Man," Patrick Cowley's archetypal 80s disco album, Robot Love is a celebration of the playful, synthetic, party-driven, disposable culture of disco. The video is playful and opulent, presenting a night at the disco as a mind-expanding trip to an alternate universe.

"The human ear. A gatherer of energy. A gatherer of sound. RPMs and BPMs. Satellites go up to the sky."

In the video Satellite, Nelson Henricks combines found footage and techno beats to question western society's ongoing obsession with science, technology and the future. Juxtaposing images derived from old educational films with absurd, aphoristic slogans, Henricks offers up a witty, entertaining and provocative commentary of our need to make sense of everything, at any cost.

Separation of the (Earth by Fire) is a multi-disciplinary project that includes print collages, audio, and video. Together these works rethink the politicization of the image of the child, using David Wojnarowiczʼs “One Day This Kid Will Get Larger,” as a conceptual springboard. From pre-existing mainstream films, the video uses imagery of violent encounters between children and adults.

This is the story of two young girls who dig up a tiny woman from the back garden. They incubate her in their mouths, in their bed, they lock her in a dolls house wallpapered with pornography to make her grow up faster, feeding her through a tube in the door. When she is life-sized and ready to play they take her to the disco. A dark, comic, experimental fantasy on the implications of Little Girls Toys — with the existential melancholy of Frankenstein's monster.

"A compelling exploration of a child's inner life and logic. Impressive and distinctive."

Sing, O Barren Woman, part documentary part music video, satirizes and celebrates a taboo subject--voluntary childlessness. Susan Mogul gives voice to ten women who are childless by choice (or default) as they come out as non-mothers speaking and "singing" about the stereotypes of the "barren" woman. "Never mentioned in public or given a voice, we’re invisible women who made a provocative choice." These various refrains crescendo to Susan’s humorous song of sexual innuendo "Baby, I Still Can Conceive." This is the first U.S. film or video on voluntary childlessness.

A sort-of music video that focuses on and under young women and men engaged in focusing video and movie cameras on other young men and women.

This title is also available on The World of George Kuchar.

On a snow-covered New Year's Day in New York City, Snow (I Wish There Was Cars) captures a city at a standstill: children sled, wind whips snow over empty streets, and New Yorkers search for warmth in a deserted urban landscape.

Shot by Parry Teasdale in 1971, with music also by Teasdale.