If William S. Burroughs, Surrealism or Hannah Hoch ring a bell, these Dalibor Baric films are made for you: a selection of mind blowing - if not stirring - video trips with awkward wonders, magic and a fair share of insanity, all straight from the obscure world of Baric.

Videoctober is a collection of experimental audiovisual art. The aim of the program is to give an accurate sample of contemporary videoculture while stressing the all-time significance and power of imagination.

Celebrating the 5th year anniversary of the documentary When I sold my soul to the machine a few scenes have been remastered and can now be watched here for the whole month of September.

This months program is a collection of five animations made by Turkish artist Gökhan Okur. Working mainly as an illustrator, Okur experimented by adding time to his illustrations.
From these experiments the animations occurred.

This program is a reflection on today’s artists whose abilities allow them to integrate the cinematic process from writing to editing with stunning results - will take you on a journey through style and independent filmmaking.

The Video Potential of Experimental Sequential is a Video Art exhibition curated by Artist Ryan Seslow. The program emphasizes the medium of digital video and computer based editing software as a means of expression and communication.

This program is based on a contrasting perspective, the purpose of which is to give insight into how documentaries are made and stories are told. The films each have their own style and use cinematic creativity to capture reality.

Nukubus, alias Jan Katsma, is a Rotterdam based filmmaker, musicproducer and dj. He makes documentaries for Dutch television and runs production company Umwelt Films.

The term generative art does not describe any art-movement . It is a method of making art. The term refers to how the art is made and does not take into account why it was made or what the content of the artwork is.

What happens if we resort to the dear, familiar objects of old in our current time of de-materialization and virtual living? What is the result if we set up narrations and investigations into pixel-mediated sceneries starting from our day-to-day interactions with ordinary things?