Memory and imagination cross in these obsessive works, which are haunted by the past, anxious about the future. Set at the turn of this century, Leslie's Thornton newest work-in-progress, The Haunted Swing, explores different states of being possessed: seances, Edison's new invention the phonograph, Isabelle Eberhart's cross-dressing, and Russian anarchism. In David Sherman's dreamy Tuning the Sleeping Machine, Svengali and other mysterious figures are perturbed by half-conscious thoughts and disturbing images, the shared hypnosis of cinema. Lewis Klahr's Organ Minder's Gronkey is a post-apocalyptic tale, richly imagined in his dense cutout animation. Found footage and 3-D postcards are circuitously linked in Julie Murray's dismantling of the history of civilization, A Legend of Parts. Bradley Eros and Jeanne Liotta's Dervish Machine, inspired by Brion Gysin's Dreamachine, suggests the fragility of existence, whether lived or recreated. Local filmmaker Greta Snider creates a fleeting memorial to her father in Flight, while Phil Solomon's Snowman is a meditation on burial, decay, and memory, a belated Kaddish for the artist's father. Sharon Sandusky compulsively edits found documentary footage of the legendary last leap of lemmings in the wonderfully obsessive C'mon, Babe (Danke Shoen).-Kathy Geritz