Tonight's program of beautiful formal works includes Guy Sherwin's Flight (1998, 4 mins, B&W), a study of time and focal length, but also of release. Lewis Klahr's recent Elsa Kirk (1999, 5 mins) documents the woman of the title on a precise date, while creating a luscious collage of color fields and accents. Gunvor Nelson's first digital video, Tree-Line (1998, 8 mins, Video), is a "stammering" exploration of the possibilities of the medium, while In.side.out (1999, 10 mins, Video) is Scott Stark's nuanced meditation on home and self. Luis Recoder's mesmerizing and abstract Available Light 11.3.99 (1999, 100 ft., Silent, 18fps) was made "without-the-camera, though not camera-less." Three different returns home are expressed in Irina Leimbacher's minimalist yet penetrating homecomings (1999, 10 mins, Video), and parallel travels are noted in Stephanie Barber's angus mustang (1996, 4 mins). In Fred Worden's Automatic Writing (2000, 8 mins, Silent, B&W) beautiful ink drawings are displayed for deciphering. Phil Solomon describes his elegant and haunting "tone poem," Twilight Psalm I: "The Lateness of the Hour" (1999-2000, 8 mins, Silent, B&W) as "breathing in the cool night airs, breathing out a children's song; then whispering a prayer for a night of easeful sleep." In Gerald Holthusis's breathtaking HKG (1999, 14 mins, 35mm) planes land at an airport in Hong Kong, and our sense of scale, and of nearness and farness, is shifted into a magical realm.-Kathy Geritz