Halloween, New York City, 1981 Live at The Palladium with Ray White, Steve Vai, Bobby Martin, Tommy Mars, Ed Mann, Scott Thunes, Chad Wackerman

Still it's really tall. Still it's really floundering/falling/fading.

Don't ask me why, but I feel we're about to cry trying.

Say Om as you reach home only to realize you never really left/stopped saying Om.

Moonwalker is a 1988 American experimental anthology musical film starring Michael Jackson. Rather than featuring one continuous narrative, the film expresses the influence of fandom and innocence through a collection of short films about Jackson, some of which are long-form music videos from Jackson's 1987 album Bad. The film is named after his famous dance, "the moonwalk", which he originally learned as "the backslide" but perfected the dance into something no one had seen before. The movie's introduction is a type of music video for Jackson's "Man in the Mirror" but is not the official video for the song. The film then expresses a montage of Michael's career, which leads into a parody of his Bad video titled "Badder", followed by sections "Speed Demon" and "Leave Me Alone". What follows is the biggest section where Michael plays a hero with magical powers and saves three children from Mr. Big. This section is "Smooth Criminal" which leads into a performance of "Come Together".

The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.

Live concert of the German band Unheilig, recorded on March 4th 2004 in Nuremberg, Germany.

Created entirely from YouTube videos and edited in Windows Movie Maker, Lopatin recomposes outmoded video graphic landscapes via repetition and abuse.

An experimental film from Jirí Lehovec, mixing the sound process with animated rhythms.

Lights flicker & fade as focus shifts from artificial to natural light, ending on a second artificial light speeding through the blackened miasma of the night sky.

A musician seeks a peaceful vacation in a Vogtland village but is soon overwhelmed by requests for a symphonic composition and a pop song for a local dance band, leaving him with no time to relax.

This cacophony runs over me, over everything I see, everything I want to see: it's me.

Centrist revelations abound among repetitions & revisitings.

Something I know or something I was told? When something scalding translates something to behold.

Pounding backbeats beaten by [(Don't Get)] warm[welcomes]th.

Lines align during acclimated apexes, shadowy vertices, and bright burrows.

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Beyond all human restraint lies one's lugubrious layers of paint.

Eye-popping digital moving image work with an equally arresting soundtrack from noise music heavies.

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.