Legendary filmmaker George Kuchar, in between trips to the bathroom, visits three Bay area friends: an eccentric filmmaking couple who produce zombie movies, and performer Billy Nayer.

This is the audiovisual translation of the Walter Benjamin's Theses on the Philosophy of History.

This is a video that celebrates the New Year with a banging of plates and licking of bowls. The viewer gets to witness a house of canned celluloid and the watery vistas of a Bay Area burgh.

Former East/Former West was shot in Berlin three years after German reunification. Comprised largely of street interviews conducted in various parts of the city, the video documents Berliners' feelings about their national identity.

Blood percolates beneath the hot skin of sweat soaked men as they wrestle with primal urges that rip open hearts, tie the gut in knots and turn emotions inside out.

A video in two parts about two states (being asleep and being awake) and the absurdity, or even impossibility, of bridging between them. The camera becomes a microscope examining light as if it were a state of mind.

Photographer, theorist, and lecturer Victor Burgin lives and works in London.

Minute Waltz is a ballet performance recorded on a time-lapse VHS security surveillance recorder borrowed over a weekend from a local bank.

This flashy drama about theater life was made with my students at the San Francisco Art Institute and follows the various personalities that make up the show-biz milieu of a fictitious city on a fog bound coast.

What Could Go Wrong depicts fire trucks, ambulances, fire alarms with sonic distress that document every current disaster….floods, fires, war, food scarcity and police torture are accompanied by Linda Mary Montano singing 7 ballads.

This is not a sight-seeing film, but a poetic journey through light and darkness reflected on the city of New York, where I often found empty spaces and times like Ma in Japanese.  You do not often see the people walking on the streets or in the bu

A portrait of an unnamed city in Italy. Sidestepping the tourist attractions that make the city famous, the film/video posits an almost-imaginary place that draws closer to the reality of its inhabitants.

"I made Take Off in my studio apartment on Myra Avenue during my second year living in Los Angeles.

Waves crash on rocks as tongues flap in the wind about all things cinematic.

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.

This humorous video begins with two women—one white, the other Asian—attempting to fit into a Japanese bathtub.

The dog in dreamland? Or at least one of us is…

–– Ken Kobland

Jeremy Blake (1971-2007) used digital media to create works that function on a flexible spectrum between being more painting-like or more film-like.

Block is a round-the-clock portrait, shot over a duration of ten months, of a 1960s tower block in south east London. The film is a portrait that developed out of this long duration spent there.

Transplanting is a video performance film looking at the connection between the movement of plants and bodies within the contemporary post-colonial context.

On the horizon, beyond their reach lies the shores of Poetry, and beneath their feet the chaos of Hell!

The compilation What Was Always Yours And Never Lost, provides an essential introduction to recent works of video art and experimental documentary by indigenous film and video makers from throughout North America.

In 1939, Westinghouse made a film about a small-town family visiting the New York World's Fair.

Hokey Sapp Does SPEW features Kate Schechter performing her invented media personality Hokey Sapp interviewing some of the luminaries at SPEW: The Homographic Convergence, a queer zine convention hosted by Randolph Street Gallery in Ch

IN TRANSIT was shot in HD video during travels between 2008 - 2010. It is both an observational documentary and an experimental work in form and intent with an overall lyrical quality.

This compilation contains many of Teddy Dibble’s best comic vignettes. Everything is up for grabs in these visual and linguistic puns, including video dating, telephone operators, New Years Eve celebrations, fruit, and the theory of evolution.

A cold stone structure stands in frigid defiance to the moral decay which shrivels the leaves of erect extensions to the human lust for creative expression.

My Mother’s Place is an experimental documentary focusing on the artist’s mother, a third-generation Chinese-Trinidadian who at 80 still has vivid memories of a history lost or quickly disappearing.

This time, the call of the west sends me packing to Oregon, California and Arizona. You too can experience the dizzy delights of a whirlwind tour and witness wonders seen through the savage eye of a Sony camcorder.

Ground Effect is an investigation of the constantly shifting, 80km long line in Israel, where rainfall amounts to less than 200mm a year on average.

Part of a cable TV series called Communications Update that aired on public access in New York City from 1979 through 1992, these tapes provide an early example of television made by artists.

This is an agitprop piece on resistance from the autonomy and indigenous sovereignty that hold in his own name, in his own letters, in his own sparks and embers of letters.

Part of the Hauntology Film Archives series.

It’s the first day of autumn, and Gibbons can already smell death in the air.

Primal urges and lofty aspirations saturate this lush excursion into the human landscape where internal battles rage – see pens spill forth poems – observe the paintbrush dripping passions, as writers and artists sear

Joseph Beuys (1921–1986) was born in Kleve, Germany. After serving as a volunteer in the German military, Beuys attended the Dusseldorf Academy of Art to study sculpture, where in 1959 he became a professor.

Phil Morton starts the conversation by discussing an engineering project at the University of Wisconsin which was developing an early video communication system over satellite.

A welcome as warning.

Meet local San Francisco artists and the pets of the culturally inclined, as George prepares to take a trip.

Love Songs #1 is composed of three pieces that pose questions about urban culture, race, and politics. Found footage images are manipulated and juxtaposed with popular music; the effects are unsettling, ironic, and sometimes humorous.

A two part treatise on needs, met and unmet. A painter putters around his apartment. Spoils his cereal with rotten milk, gets a do-over with a fresh gallon.

Horizontes incorporates scenes from a popular Cuban soap opera with running commentary in the form of a propagandistic advertising text.

Eiko Otake, based in the United States since 1976, is a highly regarded artist who has performed in many countries as part of the performance duo Eiko & Koma.

Lossless #2 is a mesmerizing assemblage of compressed digital images of Maya Deren and Alexander Hammid’s 1943 masterpiece Meshes of the Afternoon.

Black Code / Code Noir unites temporally and geographically disparate elements into a critical reflection on two recent events: the murder of Michael Brown and that of Kajieme Powell by American police officers in 2014.

A surrealistic deep dive into the interactive menus and screens that make up the mediated landscape.

Miranda July (b.1974) makes performances, movies, and recordings—often in combination.

A flowing river, an injured arm, a dance floor, and a woman washing clothes in the bay—what carries the dust is the wind.

The Love Tapes included in this edition of Endless Love Tapes were filmed at the Berwick Film and Media Arts Festival in the United Kingdom.

Stop action animation, ink on glass.