Pattern Language describes the aliveness of certain human ambitions through an index of structural patterns.

A visual and acoustic examination of the aesthetic potentialities of interim noise within deconstructed and distorted interiors. Noise serves at the same time as a medium for transporting information and communication between the visual and acoustic levels. Its modulations have been randomized, resulting in various kinds of extreme disturbance and interference. The audio synthesis is based on non-linear systems of mathematical equations, and the acoustic signals are structured by means of generative algorithms that change constantly throughout the animation. Thus, while the acoustic level is generative, the visual level is designed to be non-generative. Despite the signal´s intentional autonomy, information of decay~ directs the viewer´s attention at the creation of the contingent aesthetic couplings and interference that are, ultimately, impossible to plan or program.

Animals encounter a magical ball that sows conflict between them.

A poem by Derek Jarman, translated into the language of pixels and neural networks.

A feedback driven experimental digital animation by Andrew Benson.

A film about uncanny valleys and the space between. Painted 16mm film undergoes a monstrous transformation becoming neither analog nor digital.

Visites Possibles explores the possibilities of creating 3D environments based on video images generated by electronic signals. Inspired by architectural renderings and the idea of virtual tour, the video invites the viewer to visit its structure through specific parameters. Throughout the visit, "entities" arise and disappear regularly as if haunting this virtual environment. Visites Possibles also acts as a transitory space where multiple doors open on potential virtual experiences.

Digital TV Dinner is a video art clip from 1979 created using the Bally Astrocade console game to generate unusual patterns. The Bally Astrocade was unique among cartridge games in that it was designed to allow users to change game cartridges with power-on. When pressing the reset button, it was possible to remove the cartridge from the system and induce various memory dump pattern sequences. Digital TV Dinner is a collection of these curious states of silicon epilepsy set to music composed and generated upon this same platform.

"Mountains are falling, and there's nothing we can do about it. And even if we have the means to rise to their height to admire them, to surpass those inaccessible peaks where many explorers lost their lives trying to gain the privilege of overcoming them, the mountains will continue to fall as they continue to rise. If Mount Blanc falls, it also rises."

With the desire to show the dehumanising effects of modernity the film contrasts urban space, shown from the perspective of Google Maps, with shots of wild animals.

What can a filmmaker do when they are locked in during a pandemic? They make a film using a computer. With the participation of game scholars and academics from the Technoculture, Art and Games Research Centre, a town was built in Minecraft following the principles of Bauhaus.

In early 2012, Angela Washko founded “The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft” as a performative intervention within the often misogynistic environment of World of Warcraft (WoW), one of the most popular multiplayer, role-playing games. Instead of continuing to follow the quest structure of the game (killing dragons, getting better equipment, joining more competitive guilds, etc.) and while performing as “The Council" Washko facilitates discussions with players inside the game about the ways in which the community therein addresses women and how players respond to the term “FEMINISM.” Washko is interested in the impulse of the community/player-base to create a somewhat oppressive, misogynistic space for women within a physical environment that is otherwise accessible and inviting.

This work builds on a series which uses the form of online video tutorials to explore ideas around patterns in nature and existence. Each of them begins with Blandy giving a step-by-step tutorial explaining how to make a short video about a specific subject, only using the tools available via a computer – through the Internet and video editing software to video games.

The second film in the series, 'Relic 1' forms part of Larry Achiampong's Relic Traveller: Phase 1, a multi-disciplinary project manifesting in performance, audio, moving image and prose. Taking place across various landscapes and locations, the project builds upon a postcolonial perspective informed by technology, agency and the body, and narratives of migration. In the short film, a Relic Traveller is featured apparating sites across a seemingly desolate United Kingdom. Uncovering fragments of audible data presenting clue-like testimonies to a forgotten Empire, the Relic Traveller soon finds themselves in an atmosphere that simultaneously delivers poetic moments of the sublime met with increasingly harrowing claustrophobia and tales of trauma. Thus resulting in a familiar feeling of otherness, we are invited on a journey that embodies hysteria.

'Finding Fanon 2' collides art-house cinema with digital culture’s Machinima, resulting in a work that explores the post-colonial condition from inside a simulated environment – the Grand Theft Auto 5 in-game video editor. This video work combines several stories, including how the artists’ familial histories relate to colonial history, an examination of how their relationship is formed through the virtual space, and thoughts on the implications of the post-human condition. The Finding Fanon series is inspired by the lost plays of Frantz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation. Throughout the series, Achiampong and Blandy negotiate Fanon’s ideas, examining the politics of race, racism and decolonisation, and how these societal issues affect our relationship amidst an age of new technology, popular culture and globalisation.

They told me : You have a gift, Martha. Down here, your gift is useless. So we're gonna show you the most beautiful things. You're gonna have more memories than everyone else. And then, you will sleep. You won't wake up. But you will carry the most precious memories from Earth.
他们告诉我，你有一种天赋，玛塔。在这儿你的天赋毫无用处。来吧，我们给你看最多的美好事物；然后你带着这地球上比任何人都多的，最珍贵的记忆沉沉睡去，永不醒来。
* 2016 法国克莱蒙费朗短片电影节评审团特别奖 Prix Spécial du Jury, Festival du Court Métrage de Clermont-Ferrand 2016 (France)

This feature-length documentary follows a group of people whose lives are dramatically transformed by a virtual world -- reshaping relationships, identities, and ultimately the very notion of reality.

What happens inside a Poké Ball with space and time? This is one of several questions we face in a tale told in amphetamine-fuelled voice-over. The repeated act of zooming into a multi-purpose residential skyscraper breaks open modern family domestics to reveal increasingly bizarre tableaux. A papier-mâché Pikachu stares ahead, knowing all the answers.