Global Groove was a collaborative piece by Nam June Paik and John Godfrey. Paik, amongst other artists who shared the same vision in the 1960s, saw the potential in the television beyond it being a one-sided medium to present programs and commercials. Instead, he saw it more as a place to facilitate a free flow of information exchange. He wanted to strip away the limitations from copyright system and network restrictions and bring in a new TV culture where information could be accessed inexpensively and conveniently. The full length of the piece ran 28 minutes and was first broadcasted in January 30, 1974 on WNET.

Photos, animation, and music illustrate the story of the Beatles.

Performed live on September 15th, 1985 on the SONY JumboTRON at Tsukuba Expo, Tukuba, Japan

One of Lawrence Jordan's earliest animated films, PINK SWINE is an energetic and playful mix of various animation styles. Described as "an anti-art dada collage film," this free-form short presents cut-out images animated across old photos (a style picked up by Terry Gilliam a few years later) and found objects that dance to the beat of the rock-and-roll soundtrack. He produced this short during a summer spent with Joseph Cornell and Jordan edited the film entirely in camera, making the upbeat visual rhythm of this delightful lark even more impressive. –Sean Axmaker

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Animation. The theme is Weightlessness. Objects and characters are cut loose from habitual meanings, also from tensions and gravitational limitations. A lyric Eric Satie track accompanies the film. Such a portrait seems necessary from time to time to remind us that equilibrium and harmony are possible, and that we will not dissolve into a jelly if we allow ourselves to relax into them: A horseman rides through the landscape, through the town, but never arrives anywhere in particular. An acrobat swings on a rope above a canal in Venice, and is content just to swing there. Nothing threatens to disturb them. This film is a total contrast to the Kafka-like oddities of Eastern European animation. —Canyon Cinema

A collaboration between Soda_Jerk and The Avalanches.

In an effort to cure her smoking habit a middle-aged woman discovers that she can communicate with her long lost son while watching a Halloween safety program on TV. After suffering a nervous breakdown, her husband, a used car salesman, is revitalized when he travels back in time to drive the first car he ever sold. Seventeen years later a powerful canned food manufacturer crashes the same car into a toaster truck while endorsing a brand of yams on live TV. At the funeral his clergyman experiences a crisis of faith when he and a lifelike Mexican continue their search for a married couple who have befriended an insect who enjoys drinking lime soda. They later meet a young man whose bizarre murder scheme involves four innocent members of an experimental rock band who have all given up smoking.

A psychedelic, avant-garde collage film designed to accompany PRPL PPL's experimental album of the same name.

A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.

An intimate look into the life of composer Mikis Theodorakis from 1987 until 2017: comprising three decades, four continents, 100 locations and 600 hours of film material. The film interweaves personal moments with archive footage, documentary recordings and fictional pieces, all accompanied by Theodorakis’ music in jazz, classic, electro and rap versions.

An experimental music film based on the eponymous album, created in a form of a collage of various videos, found footage, movie clips etc.