Andrew Noren, who began making films in the sixties, tonight presents his recent explorations of the digital medium. Continuing his fascination with light and shadow-including his own now familiar shadow with a movie camera-these works move between representation and abstraction, incorporating effects from solarization to geometric patterning and transforming the everyday into the extra-ordinary. Noren reveals his focus on kinesis and cinematic illusion in his descriptions of the works, Time Being (2001, 60 mins): “Music for light and mind....Kinesis is better than sleep....Cinema isn't materials. It's refined, imaginative seeing...darkness made visible”; and Free to Go (Interlude) (2003, 62 mins, Silent): “Energy pictures!…Mindful kinesis…molecular anarchy ‘behind the scenes'…savored and shattered and seen for what it is.” Writing in Variety, Robert Koehler called Free to Go (Interlude) “an eye-popping tour through the high points of modern art....(The) color section is avant-garde cinema at its most sensually beautiful, transforming otherwise mundane shots of bustling city streets into pure images that swim with constantly shifting color fields, pulsing across the screen at the exact cadence of a heartbeat.”