Nathaniel Dorsky's most recent film, The Visitation, is a quietly beautiful meditation on seeing the unexpected and being surprised by the usual (2002, 18 mins @ 18 fps, Silent). Luis Recoder's "Available Light" series is made without a camera, exposing the raw color stock to light. We will present Yellow-Red & Blue-Violet, a two-projector film (1999?000, 12 mins, Silent). In Fall, Leighton Pierce views the world in miniature, refracted through a glass ball (2002, 13 mins). Looking at the Sea,Peter Hutton's contemplation of the Irish seascape, is as fascinated by light as by color (2001, 16 mins, Silent, Canyon Cinema). Hojas de Maíz was created by Eric S. Theise without a camera using soft ground etchings (2002, 11 mins @ 18fps, Silent). With her most recent film, Song of the Firefly, Izabella Pruska-Oldenhof continues to construct delicate abstract compositions using photograms (Canada, 2001, 4.5 mins, 35mm, Canadian Filmmakers Distribution Centre). Both Peter Herwitz's Patina (2001, 10 mins @ 18fps, Silent) and Stan Brakhage's Very and Night Mulch (2002, 6 mins, Silent, 35mm, Canyon Cinema) combine vivid hand-painting with photographed images.