Among the avant-garde approaches to animation represented in this program are Courtney Hoskins's hand-painted film exploring a moon of Jupiter (The Galilean Satellites: Europa, 2002, 8.5 mins, Color, 16mm); one of Stan Brakhage's last completed films, made by scratching into emulsion with his fingernails (Chinese Series, 2003, 2 mins, Silent, B&W, 35mm, From Canyon Cinema); Pearce Williams's soft-stuffed puppets (Sharp Proofing, 2002, 8 mins, Color, Video); and Liliana Porter's “anti-animation” of toys and souvenirs (Drum Solo/Solo de Tambor, 2000, 19 mins, Color, Video). Anna Geyer and Devon Damonte make cameraless films, one using a flashlight and packets from a Chinese herbalist (Arapadaptor (I Feel So), 2002, 4.5 mins, Color, 16mm), the other employing direct animation (WonderPain, 2002, 3 mins, Color, 16mm). Barry Gerson animates a mysterious, colorful space of his own construction in Rolling in My Ears (2002, 8 mins, Silent, Color, 16mm), and Michele Smith's intense collage Like All Bad Men He Looks Attractive (2003, 23 mins, Silent, Color, Video) is a barrage of visual stimuli.