Nathaniel Dorsky, Guest Curator Superimposition, or double exposure, has been used by the avant-garde both as an in-camera technique and in the editing/printing stage. Our program tonight illustrates the many different visual and philosophical or experiential expressions of superimposition. Sometimes, as in Ron Rice's Chumlum and Lightplay by Moholy-Nagy, the screen takes on a weightless quality-sculpture lifted out of gravity and floating on the wall like a balloon. In a film such as Stan Brakhage's The Dead (presented in a new, color-adjusted print), double exposure pierces through the illusion of the solidity of our visual world. Superimposition can be a source for contrapuntal improvisation, as in Aleph, by Wallace Berman, and 17 Reasons Why; or the actual bringing together of two different periods of time, as in Ernie Gehr's Still. --Nathaniel Dorsky