A microscopic glimpse of fluttering insect wings contrasts with sweeping aerial views of a metropolis, and newspaper coverage of juvenile delinquents is juxtaposed with stereoscopic photos of slaves and hand-painted images of cowboys and soldiers. Shifting from details of the natural world to incisive analyses of historic events, the nine experimental works in this program examine the beautiful and the horrific with an artist's eye. Charlotte Pryce's delicate renderings of insect and plant life in Discoveries on the Forest Floor, 1–3 are both magical and illuminating. Photojournalists' notes are paired with vintage images to reveal how the real has been constructed in Chris Kennedy and Anna van der Meulen's Memo to Pic Desk. In Watercolor Montage #7, Paul Clipson composes an abstract city symphony to the beat of Bay Area band Tarentel. (In Golden Gate Awards competition.) Olivo Barbieri calls SEVILLA Æ (•) 06, his aerial examination of the man-made landscapes of southern Spain “a tale on the perception of Europe from Africa.” Blending quotations with intricate drawings, Lori Hiris's animation Atlantis Unbound critiques the scientific theories of Sir Francis Galton, contemporary of Darwin. Robert Todd's subtle and sensual Interplay explores the pleasures of water in summer heat, whether in the suburbs or the inner city. In Capitalism: Slavery, Ken Jacobs animates anonymous stereoscopic images of slaves from the late 1800s and brings them to wrenching life. Martha Colburn collages paintings and images from the Wild West and the Middle East in Destiny Manifesto, exposing parallels in the brutal conquering of the two frontiers, past and present. In Xavier Lukomski's A Bridge over the Drina, a beautifully photographed Balkan landscape stands in stark contrast to accompanying testimony detailing horrendous events that haunt the site's recent past.