Influential intermedia artist Aldo Tambellini’s 1960s revolutionary Black films (currently being restored and archived by the Harvard Film Archive) have lost none of their acuity. Through its suggestion of a cosmological beginning via pulsing abstraction and a series of non-camera techniques, and its use of television as a subversive artistic force, Tambellini’s pioneering work sought to represent “the expansion of consciousness in all directions.” A dual 16mm split screen projection of one of Tambellini’s greatest works, his prescient and intense Black TV, sets the tempo for a programme exploring contours through holes, legacies through sustained viewing, and dynamic force fields from the inside out.

Named for the taboo-breaking film by Kenji Onishi, Josh Solondz's Burning Star is an entrancing colourful implo/explosion of a twelve-sided star.

Paolo Gioli's When Bodies Touch (Quando I Corpi Si Toccano) uses footage from an old porn film to transform copulating bodies into a mesmerizing, competitive dance with celluloid.

With Ritournelle, Peter Miller and Christopher Becks have fashioned a miniature gem from a 16mm corps exquis exercise; an experiment in inside-out filmmaking, which began with a surreptitiously pre-struck soundtrack.

Marking a bifurcation in the programme from abstraction to figuration, Jim Jennings' first (spectral) video work Watch the Closing Doors — a continuation, yet striking variant upon the filmmaker's unique city symphonies, this time with synch sound — partakes in the august photographic tradition of capturing commuters unaware on the New York subway.

Lonnie van Brummelen and Siebran de Haan's glorious 35mm View from the Acropolis extends the Dutch artists' interest in Europe's shifting power dynamics by offering a monumental meditation on the original Turkish site of the Pergamon Altar, now stowed in the famous Berlin museum.

Anna Marziano's intelligent, quietly moving The mutability of all things and the possibility of changing some (De la mutabilité de toute chose et de la possibilité d'en changer certaines) explores our human adaptability in light of catastrophe (the earthquake in Aquila) by way of seminal literature passages implying a transitory social body (from Marguerite Yourcenar, Hannah Arendt, et al.).

In his first film made outside of his native Austria, Johann Lurf spent several months documenting the Morris Reservoir near Asuza, California, which functioned for decades as a military torpedo-testing site. Now decommissioned and rife with resulting infrastructural oddities, the oft-documented site is here transformed in Reconnaissance through subtle movements by Lurf's sly investment in visual perception play. The world is anything but static…