Pola Weiss’ first videoart. Abstract, psychedelic visuals with Chic Corea soundtrack.

An animation based on pixels from an image taken with the Hubble telescope, which is in orbit 600 kilometers above the Earth. Pixels from as far away from Earth as humans can see.

Sound film experiments by Swedish engineer Sven A:son Berglund. The sound strip, unlike sound film today, covers almost the entire film strip.

UAREI, made between 1972 and 1977 in San Francisco, London, and Vienna, is Marc Adrian’s last abstract film using a psychedelic-meditative effect. Preceding the film is a quotation from the fictitious philosopher DeSelby, a figure created by Flann O´Brien in the novel The Third Policeman: "human existence being an hallucination containing in itself the secondary hallucinations of day and night it will becomes any man of sense to be concerned at the illusory approach of the supreme hallucination known as death."

Experimental film following a cycle of seasons as well as the stretch of a single day as a man and his dog slowly ascend a mountain.

1941 was Francis Lee's first film; CH'AN his last. In between, he became an expert Sumi-e watercolorist and here he combines eloquent ink paintings with masterful animation methods. This film moves through mysterious shapes, takes the viewer on an explosive meditative journey across the imaginary landscapes of his creations.

To the toccata portion of Bach's "Toccata and fugue in D minor," we watch a play of sorts. Blue smoke forms a background; a grid of black lines is the foreground. Behind the lines, a triangle appears, then patterns of multiple triangles. Their movements reflect the music's rhythm. Behind the barrier of the black lines, the triangle moves, jumps, and takes on multiple shapes. In contrast with the blue and the black, the triangles are warm: orange, red, yellow. The black lines bend, swirl into a vortex, then disappear. The triangle pulsates and a set of many of them rises.

Inspired by enjoyment of looking into a bonfire or hearth, seeing shapes coalesce and disperse fleetingly, or by feeling the mind's desire work with the forms of flame that dance. The cinema is a similar form to that. Made without a camera by etching unexposed film with sandpaper, chemicals and light.

This is a collection of ten short films. For each film, 50 x 18" strips of clear film were laid side by side to make a rectangle 18' x 36'. A geometric shape was drawn on each rectangle, and the strips of celluloid were joined to make a film. The sound is created by the image carried over into the optical sound track. -http://lux.org.uk/collection/works/ten-drawings

Stepping Stones - Abstract drama played out in light, color and sound - is made up entirely of original vintage light show projections, excerpts of which were featured in the 2005 Visual Music exhibition at the Smithsonian's Hirshhorn Museum and The Museum of Contemporary Art in Los Angeles

Abstract forms animated in drawings.

This hand-painted, step-printed film begins with several seconds of blank white (interrupted by red and brief electric yellow) and then proceeds to multiply flecked earth and rock shapes and root-like forms which seem to suck horizontally inward and upward midst phosphorescent greens and blues increasingly flecked with light-yellows giving way to tree-top branch likenesses taking oblique shape against a phosphor sky.

Black-and-white abstract animated short of light, shadows, and reflections by The Dodals (Karel Dodal (1900-1986) in collaboration with his wife, Irena Dodalová).

Haro Senft’s “film made without a camera”.

Direct animation with stained-glass contact paper, ink, and acetate.