The films in this program reflect on what is seen and unseen. Histories are suggested but not explicit. The contact between humans and nature is central. Eve Heller, whose exquisite Singing in Oblivion moves between a Jewish cemetery in Vienna and images of an unknown family, reflects, “I am an echo chamber of forgotten lives and disappeared worlds, a free-floating song, heaven walks the earth.” In Emily Chao’s Light Signal, a logbook marks the perils of the sea, while a Yurok reconstruction recalls a way of life. and so it came about, Charlotte Pryce’s beautiful fairy tale, retells the story of Persephone, and a pricked finger reveals the cost of trespassing into the world of the spirits. Kevin Jerome Everson’s family takes up World War II binoculars he recast in bronze to search for Georgia’s state bird in Brown Thrasher. Heehyun Choi’s This Isn’t What It Appears reinterprets archival photographs taken by anonymous American soldiers stationed in South Korea. Nearest Neighbor, Rebecca Baron and Douglas Goodwin’s examination of artificial intelligence in relationship to birds, is both fascinating and surprisingly comical. For Yaangna Plays Itself, Adam Piron filmed and sourced images from the Indigenous village that became Los Angeles and the nearby Los Angeles River.