We conclude our series, "Abstraction Re-Examined," with a program of recent abstract films, including many favorites of our audience. Interestingly, most of the films are silent. Among Stan Brakhage's recent work are brilliantly colored, hand painted (originally on IMAX) films, which he has referred to as "moving visual thinking"; we present Nightmusic, Rage Net and Glaze of Cathexis (1986-90, 4 mins, Silent, Color). Local filmmaker Nathaniel Dorsky describes his Alaya (1976-87, 28 mins, Silent, Color): "Sand, wind, and light intermingle with the emulsions. The viewer is the star." In Peter Herwitz's In the Shape of Waking, Parts 3 and 4 (1990, c. 10 mins, Silent, Color, blown up from Super-8mm), light and color evoke memories and emotions through imagery which hovers at the boundaries of recognition. Using lithographic crayon on paper in The Trap (1988, 5.5 mins, B&W), Amy Kravitz creates solemn yet compelling abstractions. In Phil Solomon's stunning The Secret Garden (1986, 23 mins, Silent, Color) optically reprinted found footage evokes a child's "fever dream," probing the experience of the nuclear family. Caroline Avery describes her hand-painted Cassandra (1989, 2.5 mins, Silent, Color) as "for the daughter of Troy as it fell to the Greeks and to all girls seeking womanhood by way of tears." --Kathy Geritz