A selection from the 
3RD RENCONTRES INTERNATIONALES 
ART CINEMA / VIDEO / ORDINATEUR

Presented by Katerina Thomadaki, William Moritz
The American dancer, who achieved great stardom in Belle Epoque Paris, invented an art of movement and light that preceded many projection-based art forms of this century's avant-garde. Her performances were the inspiration for many films. With hand-painted jewel films coming from the archives of the Cinémathèque française de la Danse, as well as from William Moritz's private collection, this programme presents, for the first time ever, most of the surviving films around the work of Loïe Fuller.
In addition, dancer Brygida Ochaim's contemporary recreations of Loïe Fuller's light dances will be screened.

Programme includes:

Collector and historian of abstract film William Moritz visits from Los Angeles with treasures from his own private collection in this programme of light machines, light shows and Vortex films.
 

How do technological advancements affect the politics and content of work? How does the idea of "Media Ecology" resonate in our ever expanding technological environment? What means of resistance and critical approaches can be envisaged by artists preoccupied with the status of the image? 
A panel discussion around the concepts highlighted by RENCONTRES INTERNATIONALES with some of the  British participants who have contributed to its success. 

With Tanya Syed, Michael Mazière, Jayne Parker, Kathleen Rodgers, Lis Rhodes, Tina Keane and theorist Gray Watson. 
Introduced by Maria Klonaris and Katerina Thomadaki.

Three pioneering works that launched the self-questioning of women in film: 
 

Based in Los Angeles, O'Neill is recognised as a virtuoso in film inventions and optical printing. Combining spaces, times, and layers of narratives through astonishing displays of colours, rhythms and forms, his films are highly complex compositions of image and sounds. A rare inventiveness and a truly original insight in the art of themoving image.
 

Pioneer in the projection-based arts and interactivity, Shaw introduced computer images to his installations in the early '80s to create a dialectic between virtual images and real space. An inspiration drawn from the Baroque, his work challenges the "spect-actor" to discover multi-layered significations through non-violent experimentation. Director of Europe's foremost new media laboratory ZKM in Karlsruhe, Shaw presents his work from situationist installations and happenings in '60s London to recent work in Japan¹s most technologically advanced virtual reality environment.