Driven by common influences such as technological advances and evolving cultural discourse, artists often invent coincidental worlds. Tonight's program looks at video artists who pursued a path parallel to the development of video games, whether it was the navigation of deeper space, the haunted imagery, or the quest for engagement. John Sanborn was the reigning techno-wizard of the eighties. His music-driven works Act III (1983, 6:30 mins) and Infinite Escher (1990, 8 mins) probed the depths of virtual space with high-velocity virtuosity. Following close in his tracks, Max Almy also wielded a panoply of digital tools. Her Utopia (1994, 5:15 mins) posed as a video game tapped into the consciousness of consumer culture. Kristin Lucas's Watch Out for Invisible Ghosts (1996, 5:15 mins) created a game-like environment where action heroes and network sponsors vie for attention. David Larcher's VideØvoid (1993, 32 mins) begins with dropout, that place within a video signal that contains no information, then expands outward to a remarkable universe. Peggy Ahwesh's She Puppet (2001, 15 mins) brashly appropriates the graphical realm of Tomb Raider, turning it into a protofeminist saga. Finally, Greg Niemeyer's captivating CGI short Organum (2003, 11 mins) orchestrates an allegory about mutation and possibility where fanciful creatures spun from human anatomical parts scamper about a cavernous 3-D world.