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"Infinitos monos" is a plastic interpretation of the Theorem of infinites monkeys, which states that a monkey touching keys at random on a keyboard will be able to, in all safety, finally write any book that is situated in the national library of France. The film demonstrates that it is extremely improbable that this could happen, but even this way it would be more improbable than the laws of the statistics that were violated.

Rafael Gallar was born in Alicante in 1969. He began as a industrial photographer in Alicante, a career that he developed for four years. In 1998, Rafael moved to Madrid to work as assistant of several photographers. Three years later he started collaborating as a freelance photographer with several magazines and realizing advertising campaigns. He exhibited photography in Photoespaña-02, and in the festival BAC-03, in the CCCB. Gallar's work with video began in 2004, exposing two pieces in the same year in the FEM-04. He exhibited "Infinities Monkeys" in FEM-05, and "I'd prefer to borrow someone else's interpretation" in FEM-06.

In a black cubic space of virtual reality based on panels of ATLAS MENOSYNE created by Aby Warburg, the user will be able to activate different fragments of a personal memory filmed in Super8mm, generating his own montage and relations between the sequences that are projected in the space. The exterior limit of the physical space is defined by the same films exposed in their original materiality. The project pretends to expand with time, adding images to an atlas in motion, that reports Nomadic life of the fragmented time-space and the no existence of digital borders. Programer: Lucian A. Meister. Sound design: Sonoscopia.

Inti Gallardo has a degree in Cinema (University of Córdoba), and a Master in Media Art (University of Chile / Polytechnic University of Valencia). It is part of the ANCORA AV work cooperative and the CEIS8 group (Experimentation in analog film formats). Her work is linked to the use of materialities, archives, memory and the crossing between analog and digital media in different aesthetic and political configurations.

Le monde de Dominique Petitgand est celui de l’écoute. Depuis trois décennies, l’artiste crée des pièces sonores qu’il diffuse à travers des disques, à la radio, lors de séances d’écoute se déroulant dans l’obscurité, selon le principe d’un « cinéma pour l’oreille », ou encore sous la forme d’installations déployées dans l’espace, dans des lieux d’exposition. Dans son travail de montage, des fragments de voix sont découpés, isolés, détachés de leur contexte, et associés à d’autres éléments vocaux, sonores ou musicaux. Ses œuvres portent attention au potentiel narratif que recèlent ces fragments de réel autant qu’aux « liens invisibles » qui les relient entre eux. Comment prolonger, à l’écran, l’expérience de ses œuvres ? Comment filmer l’écoute ? C’est à partir de ces interrogations que sont restitués trois moments de création et de diffusion : une séance d’écoute présentée au Musée des Beaux-Arts de Nancy ; un temps de travail autour de la table de montage, dans l’atelier de l’artiste ; une installation sonore, Les heures creuses, créée pour les espaces du T2G – Théâtre de Gennevilliers.

Christophe Gallois est, depuis 2007, curateur au Mudam Luxembourg. Il a été le commissaire de plusieurs expositions collectives d’envergure, parmi lesquelles « The Space of Words » (2009) et « L’Image papillon » (2013), et d’expositions personnelles d’artistes tels que Guillaume Leblon (2009), John Stezaker (2011), Sanja Ivekovic (2012), Fiona Tan (2016), Su-Mei Tse (2017), Jeff Wall (2018), Katinka Bock (2018), David Wojnarowicz (2019), LaToya Ruby Frazier (2019), Zoe Leonard (2022), Tacita Dean (2022) et Dayanita Singh (2023). Un nombre important de ces projets ont été développés en collaboration avec des institutions telles que le Taipei Fine Arts Museum, le Aargauer Kunsthaus, la Whitechapel Gallery à Londres, le Musée d’Art Moderne de Paris, le MCA Australia à Sydney, la Kunsthalle Mannheim ou encore le Whitney Museum of American Art à New York. Consacré au travail de Dominique Petitgand, « L’écoute vagabonde » est son premier court-métrage documentaire. Pensé comme un prolongement de sa pratique curatoriale, celui-ci poursuit un dialogue entamé avec l’artiste au milieu des années 2000 dans le cadre de plusieurs expositions de groupe et d’une exposition personnelle, ainsi que de la rédaction de textes et des entretiens.

A silent, dreamlike monologue by an invisible figure. Past, present and future intermingle - are we watching or being watched? Fear of the future seeps through fragments of recollection, where truth shifts like light on water. Beneath the silence lies a quiet reclusion — a retreat from others, yet a yearning for connection.

She studied Media Arts at the Academy of Media Arts Cologne, followed by studies in Archaeology and Musicology. For the past ten years, the filmmaker has worked in various roles including as an editor and producer. As such, and as a director, her short and feature films have been screened at festivals including Oberhausen Short Film Festival, the Max Ophüls Prize Film Festival, Hof International Film Festival, the Cannes Film Festival, and others.

"Hammer to bell" is set in Limerick, a city on the West coast of Ireland known for its brutal gang land wars, branded as the ?murder capital of Europe?. Through careful observation, Christina Gangos travels into the core of this brutalized part of the world, watching the unobserved, mesmerized by the ordinary other. Inspired by the work of US Pulitzer prizewinning poet Robert Hass, "Hammer to bell" takes us on an extraordinary journey from boxing children to greyhounds, marvelous landscapes to chatting anglers and a land of raging bells.

Director Christina Jane Gangos is an independent documentary filmmaker based in Limerick, Ireland (since 2006). She studied journalism and history in Athens and then went on to do a Master in Documentary by Practice at Royal Holloway, University of London. Her work has been exhibited in different forms, from video installation like Sundance to experimental documentaries like Lettuce and Peppers and Attaché. Christina has been awarded the Arts Council New Work award as well as the Create award for Community Arts. She is currently funded by the Irish Film Board. She has been exhibited at London's National Portrait Gallery and the IFI amongst other places.

An opinionated moto driver’s sanity is pushed to the edge when a total lockdown confronts him with the void in his life.

Ganza Moise is a published author and independent filmmaker based in Kigali, Rwanda. He is also the co-founder of Kiruri MFN, an independent production company based in Kigali, Rwanda. To date he has directed more than 8 short films, Like Sukut and Limbo which screened in various film festivals worldwide including; Cascade Festival of African Films, the AfrYKamera film festival, Signos de Noite, Ishango Encounters, Africa In Motion, Moscow International Experimental Film Festival, ZIFF and Exhibitions Like “International Digital Kunst Festival” and “The factory of Dreams” by Maison Beaulier. His film “Sensory Overload” won the jury’s special mention for the 67th Oberhausen. His latest film MUZUNGA premiered at the 2022 Oberhausen international film festival. Films he produced like IMUHIRA by Birara Miriam and From Here by Remy Ryumugabe among many others, have screened at prestigious festivals like the Locarno film festival and Oberhausen international short film festival.

Cherry blossoms are fragile, beautiful and light. Grasping flowers with hands symbolizes a desire to grasp something beautiful, fragile but perishable in life. When the flowers fall, when the opportunity comes, some are caught and some are lost. Those caught are only temporary possessions. Trying to catch flowers, trying to catch something good but easy to lose. During the Covid pandemic, filmmaker Wei Gao started planting and gardening. Taking care of plants every day, she discovered that humans are as fragile as plants. We try to catch things in life, some succeed, some miss. “The unbearable lightness of being.”

Gao Wei is an independent photographer and filmmaker, living and working between Seoul and Paris. She graduated from the School of Photography, Beijing Film Academy, China. She previously worked in the media industry in Beijing. Currently, her artistic practice is mainly created through still and moving images. Practices involve multiple media such as photography, super 8mm, 16mm film, video and image experiments. She held solo exhibitions in Paris, France and Seoul, South Korea in 2022. One of her films was selected in the 2023 Rotterdam International Film Festival, and several of her films were screened at art festivals and institutions in New York, Seoul, Paris and Chengdu.

Rapid flow of letters and numbers on the monitors has nothing to do with chaos theory which can cause big disruptions in our world. It has also nothing to do with hacker?s world as one would like to say. Monitors placed on a wall shelf become a contemporary bookshelf containing in itself endless digitized textual and visual material. The Bookshelf represents a network traffic translated into descriptive form, so the unseen side of "networking" would be understandable or at least readable. In technical terms the flow of letters and numbers on the monitors would sound like `tcpdump`, a common computer network debugging tool. The Bookshelf was exhibited in various shapes and contexts. A Memex Wall installation, conceptualized in cooperation with superfactory.biz, was shown within a context of a "memory extender" game, the term of which was used to call a proto hypertext computer system influencing the development of subsequential hypertext and intellectual augmenting computer systems.

Mindaugas Gapsevicius aka mi_ga was born in 1974 in Lithuania, he lives and works in Berlin and Vilnius, Lithuania. Having studied visual arts in Academy of Arts in Vilnius, Lithuania and in Muthesius-Hochschule in Kiel, Germany, he obtained an MA degree in painting and painting restoration in Vilnius. Following that, he participated in a number of exhibitions and conferences concerning arts and digital culture, Re-Approaching new Media (RAM) workshops in Tallinn and Vilnius, Interfiction conference in Kassel. Gapsevicius exhibited his work in contemporary art galleries, among them in Vilnius Contemporary Art Center in 2002, Moscow National Center for Contemporary Arts in 2004, Kunstraum Kreuzberg/Bethanien, in Berlin, in 2006. He is one of the initiators of o-o institutio media which was established in 1998 (www.o-o.lt) and a co-author of net.art projects asco-o (www.asco-o.com) and carpet art (www.triple-double-u.com)

In a land of musical rivers and omens coming from the heart of the jungle, a young man overhears a bird's song as a message of his fate. A dream-like contemplation of a man dissolving into a large common body.

Nicolás Garcés was born in Pasto, Colombia, and holds a degree in Filmmaking from the Universidad Nacional de Colombia. His work focuses on ethnographic explorations and experimental practices in audiovisual media, and has been screened in festivals such as MIDBO, Festival du Nouveau Cinéma de Montreal, FICCI, among others.

Medialab was founded in 2002 by the Conde Duque Cultural Centre and the Arts Council of the city of Madrid. It is a structure conceived as an exhibition space and an open laboratory in which research regarding information and communication technologies related to arts and sciences takes form. Thanks to the organization of seminars and festivals, numerous creators and researchers of various disciplines come together. It is a place that wishes to favour the sharing and exchange of ideas and opinions regarding emerging artistic forms.

Marco Garcia is a media artist working at the heart of the Medialab space in the departments of documentation and educational programming.

A General Disappointment bends the quotidian with ordinary scenes that are overlaid with stories told through text that wander through a night at a sex club, domestic duties at home, and the existential aftermath after a failed attempt to go on a date. The experience invites us to ponder over the systemic failures inherent to capitalist societies, and how vain their promises of happiness and self-fulfillment are.

Serge Garcia is a writer and filmmaker with a penchant for aimlessly wandering. His work emphasizes narratives that explore possibilities for agency. His films and documentaries have screened internationally

The camera?s eye tours through an abandoned house. Accurately it scans the walls, the window panes in their metal grooves and the light rooms. Its gaze slides over flaking paint. The outspoken architecture of this distinguished building ( Hôtel Wolfers in Brussels) is designed by Henry van de Velde. The soundless recordings, made in black and white on 35 mm film, the historical location and the chosen technique underline the story that is narrated by the voice-over. This story, a film script, dates back to 1965 but refers to 1929, the same era from which the building stems. There is no relation between the recordings of the space and the narration, although both sometimes seem to coincide. The house is a neutral space that is filled with the story written in 1965 by Samuel Beckett and bears the same mane as Dora Garcia?s work: ?Film?. Beckett was one of the first who emphasized the voyeuristic gaze of the viewer in cinema. He introduced the viewer into the story by letting him/her take the place of the camera. In the original version of ?Film?, Buster Keaton is the protagonist O. O is trying his best to remain unseen; his face is constantly turned away. People who do look into the camera and who are seen by it, shrivel with fear. After O has entered a house, he liberates each room from any gaze. Windows and mirrors are covered and portraits are taken from the walls. One gaze is overlooked: E?s ? the eye of the camera. In the confrontation, O and E appear to be the same person, symbolizing the viewer who is being confronted with his/her own gaze. In Dora Garcia?s piece it works in the same manner: the viewer?s position is investigated again through the camera, which accurately scans the space, looking for a clue or a story. The outward views are protected, nothing can be seen out of the windows. The wandering viewer eventually only meets himself.

Transit time where the inside and outside, the above and below are merged into one unit.

Bachelor of Fine Arts from the University of Barcelona, she ​​won a scholarship to study for a year in Bali, on her return she decided to bet for the local context of Barcelona and Bilbao. She has participated in several exhibitions in Barcelona, in Bilbao (BilbaoArte, Espacio Abisal and Rekalde?s Art Space) in Madrid in Space Trapezio and Matadero through Curator?s Network, or Berlin in exhibitions such as The Secret Cabinet or Sans Soleil. Her videos have been shown at the Contemporary Art Center of La Conservera in Murcia, LOOP and SCREEN Festival in Barcelona. Last year she has participated in the Latino Video Art Festival of New York, or at the International Video art festival ( FIVA) in Buenos Aires among others.

Turn your love into a weapon. This film reads Soviet revolutionary and sexual activist Alexandra Kollontai’s writings on female sexuality and emancipation, on the abolition of the family and the need to “change hearts and minds”. This reading traces a complex web of connections between 20th century European Marxist feminism and 21st century Latin American transfeminisms, between personal and collective mourning, between a myriad of ways of understanding the feminine, and between the melancholic gaze of disenchantment and the furious, tender, and imperious demand that the Revolution, finally, fulfil its promise. (Revolution, fulfil your promise) Red Love (2024) is the sister film to Red Love (2023). The sounds and images from the original footage of Red Love have been completely re-edited, and a wealth of new archive material has been added, which is clearly inscribed with the urgency of militancy while tracing careful historical genealogies. This film is the result of 8 years of research going from Moscow Engels-Marx-Lenin archives to multiple personal, familiar, historical and activist archives in Mexico and Latin America. It is a collective work made by a team of researchers and artists of different nationalities. It wants to inscribe itself in the urgency of the tradition of militant film while at the same time tracing careful historical genealogies and projecting into the future.

Dora García lives and works in Oslo. She currently teaches at Oslo National Academy of the Arts, Norway. She has represented Spain at the Venice Biennale in 2011 and was present again in the Venice Biennale 2013. She took part in the 56th Venice International Art Exhibition, dOCUMENTA(13) and other international events such as Münster Sculpture Projects in 2007, Sydney Biennale 2008 and Sao Paulo Biennale 2010. Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions, paying homage to eccentric characters and antiheroes. These eccentric characters have often been the center of her film projects, such as The Deviant Majority (2010), The Joycean Society (2013) and Segunda Vez (2018).

SYNOPSIS - Short (107 words) Dora García intertwines politics, psychoanalysis and performance into Segunda Vez (Second Time Around). This staged documentary orbits the figure of Oscar Masotta, a pivotal theorist in the Argentinian avant-garde from the 1950s to the 1970s, whilst not being a biopic about him. Masotta`s ideas on Lacanian psychoanalysis, politics and art (happenings and dematerialized art) changed the artistic landscape of that 1960s Buenos Aires preceding the dictatorship and with it the end of the avant-garde. The title, Segunda Vez, originates from a homonymous story written by a contemporary of Masotta`s, Julio Cortázar, which recounts the climate of psychosis and uncertainty caused by the trauma of disappearances in Argentina. SYNOPSIS - Long (260 words) Dora García intertwines politics, psychoanalysis and performance into Segunda Vez (Second Time Around). This staged documentary orbits the figure of Oscar Masotta, a pivotal theorist in the Argentinian avant-garde from the 1950s to the 1970s, whilst not being a biopic about him. Masotta`s ideas on Lacanian psychoanalysis, politics and art (happenings and dematerialized art) changed the artistic landscape of that 1960s Buenos Aires preceding the dictatorship and with it the end of the avant-garde. The title, Segunda Vez, originates from a homonymous story written by a contemporary of Masotta`s, Julio Cortázar, which recounts the climate of psychosis and uncertainty caused by the trauma of disappearances in Argentina. In Segunda Vez, García weaves together a sequence of seemingly disparate scenes that are bound by the act of repetition and observation: posters plastered along a wall advertise their own transmission, a phantom message in a bustling city; two audiences converge on a cliff top, divided in their knowledge of the scenario in which they are participating; a person, tied up in white cloth and ropes, is carried and left in a forest; the brief appearance of a helicopter causes some excitement and consternation; a group of poor and aging people is assembled on a podium, paid to endure violent light and sound for an hour, while an audience observes them; a library brings reading groups together who are aware they’re being watched; after a mysterious official summons, strangers chat in a waiting room anticipating what may happen, one young man among them has been called to return for a second time around.

Dora García lives and works in Barcelona and Oslo. She teaches currently at Oslo National Academy of the Arts, Norway and HEAD Genève, Switzerland; and she is co-director of Les Laboratoires d`Aubervilliers, Paris. She has represented Spain at the Venice Biennale in 2011 and was present again in the Venice Biennale 2013 (collateral events). She took part in the 56th Venice International Art Exhibition, dOCUMENTA(13) and other international events such as Münster Sculpture Projects in 2007, Sydney Biennale 2008 and Sao Paulo Biennale 2010. Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions, paying homage to eccentric characters and antiheroes. These eccentric characters have often been the center of her film projects, such as The Deviant Majority (2010) and The Joycean Society (2013).

If I could wish for something takes its title from a Friedrich Holländer's Weimar song. The lyrics of ‘Wenn ich mir was wünschen dürfte’ are sung from the perspective of a woman who seeks to be happy, but not too happy, because sadness has become a refuge for her. This feeling is typical of the fraught ‘love story’ between feminism and socialism, between love and revolution. ‘The woman question’ has been tiptoed around by every revolutionary movement since the nineteenth century. These decades of disillusionment are part and parcel of feminist history.

Dora García lives and works in Oslo. She currently teaches at Oslo National Academy of the Arts, Norway. She has represented Spain at the Venice Biennale in 2011 and was present again in the Venice Biennale 2013. She took part in the 56th Venice International Art Exhibition, dOCUMENTA(13) and other international events such as Münster Sculpture Projects in 2007, Sydney Biennale 2008 and Sao Paulo Biennale 2010. Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions, paying homage to eccentric characters and antiheroes. These eccentric characters have often been the center of her film projects, such as The Deviant Majority (2010), The Joycean Society (2013) and Segunda Vez (2018).

A high angle extreme close-up shot of a woman?s face. So deeply focused she is biting her nails while listening. What is she listening to? Some voices being exchanged through microphones, pointing out a homicide case. As the title indicates, this is a trial, in which the woman is a juror. Virginia Garcia del Pino has us sitting at the top of a sophisticated triangle: we are watching someone listening to something, without seeing what she can see (magistrates, policemen, experts, etc.) although hearing everything the same way she does. We can hear the words while watching the effect they produce on someone else: we are both listening and surveying the listening process. She is our mirror image. The situation is even more critical as she is not a passive spectator. Her duty? To discern the significant facts and return a verdict. As we scrutinise her (a juror suddenly becoming the one being tried), a highly selective attention can be observed: a strain towards truth and justice. Finally, being bereft of what she can see, we will inevitably make it up: a mental film as a rival to the ongoing picture. The labyrinthine effect of the information we can hear is therefore increased: What image could match such and such word? What does this uncouth solicitor look like? What about the deep-voiced judge? Is the defendant in? Technical problems, mentioned during the hearing and failing to produce certain images and sounds, comically echo our own struggle to picture the scenes. A trial as an opportunity to obstruct the truth from being brought out: this is cinema teaching us a lesson.

Born in Barcelona, Spain, in 1966, she graduated in fine arts and is a project director for the Master of Creative Documentary Program at the UAB. She has lived in Mexico, where she directed her first short films, including PARE DE SUFRIR (2002). Later, she made the documentaries LO QUE TU DICES QUE SOY(2008) and MI HERMANA Y YO(2009). Her lastest work is ESPACIO SIMETRICO (2010).

Por primera vez Virginia García del Pino bucea en la experiencia familiar para volver, desde una posición mucho más personal e íntima, sobre algunas de las cuerdas dramáticas que ya había pulsado en su obra anterior. En esta ocasión se trata de trazar en la pantalla sentimientos y estados de ánimo sin excusa narrativa. Relaciones descarnadas en un doble sentido: por que surgen sin argumento aparente que las organice y por que formalmente rompe cualquier tipo de continuidad entre la banda de sonido y la imagen que pueda servir de asidero para el espectador. Pieza oscura, como sus planos finales, que nos devuelve al siempre complejo y muchas veces tormentoso universo familiar, en un viaje interno que cada espectador debe realizar con sus propios fantasmas. Esos con los que es imposible pactar una tregua duradera.

Virginia García del Pino estudió Bellas Artes y cine en Barcelona, su ciudad natal. Sus creaciones como video-artista la acercan al género documental. Sus vídeos surgen de una tentativa de comprender el mundo desde una óptica menos dolorosa y es en ese intento de comprensión donde se despoja de todo artificio y opta por una contundente sencillez. Sus trabajos son muchas veces una manera de poner atención a las cosas que ya conoce hasta que le parecen del todo desconocidas. Es precisamente de esta mirada a lo conocido (lo cercano) como si no lo conociera, de donde parece emerger la profunda humanidad de sus vídeos y la dignidad de sus retratados: ya sean sirvientas en México (Hágase su voluntad, 2004) o trabajadores españoles cuyas profesiones están socialmente desprestigiadas (Lo que tú dices que soy, 2007). Ese mismo empeño por conocer se percibe también en su último trabajo, Mi hermana y yo (2009), en el que no trata de comunicar ideas, sino de plasmar sentimientos, de ahí que la pieza, se mantenga en un territorio difuso entre la experiencia intransferible y la capacidad de identificación. Y es este movimiento hacia el otro, este reconocimiento de y en las emociones ajenas, lo que aquí se pone en imágenes y en sonidos.

‘Health is life lived in the silence of the organs’, wrote French surgeon René Leriche in an Encyclopédie Française entry from 1936. Paradoxically, the closer we have got to this metaphorical silence, the more necessary an aesthetic synthesis, through increasingly complex and precise sounds and images, has become. The current paradigm of health technology, where bodies and their representations are sometimes indistinguishable, is the core of this film: an audiovisual study on the relationship between the human body and the latest hospital technology.

ALBERT GARCÍA-ALZÓRRIZ was born in Barcelona in 1992. His work has been exhibited at international events and festivals, including the 58th Biennale di Venezia, FID Marseille, FID Buenos Aires and Documenta Madrid, as well as at public and private institutions such as IVAM (Valencia), the Hong-Gah Museum (Taipei), the Louvre Museum (Paris), Haus der Kulturen der Welt (Berlin) and Cité Internationale des Arts (Paris).

An archive holds fragments of toppled statues. In a corner, a fan stirs the atmosphere. The air caresses the archivists’ measured movements. The hum of the motor and the drawn-out wait induce sleep: In a dream, soldiers and civilians smile, motionless. (Faraway shots, bullets whistling and explosions). In another dream, there are just stones, indifference and oblivion. (None of the above is real or true).

Albert García-Alzórriz (Barcelona, 1992). Master’s and bachelor’s graduate in Architecture from the Polytechnic University of Catalonia and bachelor’s graduate in Fine Arts from the University of Barcelona. He is currently undertaking the Master’s course in Contemporary Film and Audiovisual Studies at Pompeu Fabra University in Barcelona. His work as an artist and filmmaker has recently been exhibited at international events and festivals, including the 58th Biennale Arte in Venice, the 7th Taiwan International Video Art Exhibition in Taipei, the 31st FID Marseille, the 8th FID Buenos Aires and the 17th Documenta Madrid, as well as at public institutions such as the IVAM (Valencia) and the ECCO (Cádiz).

In the early 1970s, a group of idealistic artists, lawyers, doctors, and teachers saw an opportunity to change commercial television in Boston and its surrounding area. It would require years of litigation leading up to the Supreme Court, but the case was won and the Channel 5 license was given to WCVB-TV. Screening Room was one of several programs offered in an effort to provide alternative television viewing. The idea behind Screening Room was to give independent filmmakers an opportunity to discuss their work and show it to a large urban audience. Nearly 100 ninety-minute programs were produced and aired between 1973 and 1980. Since the 1950?s, American animator Robert Breer has been well-known for his films exploring shape, color, perspective, and motion. His work exhibits innovative graphic and dramatic interpretation as well as great wit and humor, and has inspired generations of other filmmakers. Robert Breer`s prolific career as a painter, sculptor, animator, and filmmaker began in Paris in 1950. After studying engineering at Stanford University, his interests shifted to the mechanics of film and motion. He experimented with flipbooks and was influenced by European avant-garde movements, especially Dada and Cubism. He is well-known for drawing by hand on 4 x 6 inch index cards and animating those drawings in the camera. His film captures some aspects of beat poetry and music in its fragmented, collage aesthetic. He incorporates scenes and objects from everyday life with repetition, rhythm, and motion. His cartoons are playful and humorous and explore simple delights of life. Later in his career, he experimented with commercial animation. Today, Breer continues to explore filmmaking and sculpture in his home in Tappan, New York. He was recently featured in the 2004-5 Carnegie International in Pittsburgh, PA. In addition to the interview, the films featured on the disc are: "Recreation" "A Man and His Dog Out for Air" "69" "Gulls and Buoys" "Fuji" "Rubber Cement"

"Screening Room" was developed and hosted by filmmaker Robert Gardner, who at the time, was Director of Harvard`s Visual Arts Center and Chairman of its Visual and Environmental Studies Department. His own films include "Dead Birds" (1964), "Deep Hearts" (1981), and "Forest of Bliss" (1986). In addition to his classic ethnographic films, Gardner also produced several personal documentaries on artists like Mark Tobey and Sean Scully. Next June, a book on his life and work will be published.