A delicate white ray approaches the frame of a dark picture, bounces off and changes direction. The ray begins to ramify into a geometrical shape. Various algorithms became the co-authors of this generative work that explores the physical laws of reflection. The code-generated soundtrack reacts in real time to the gradually transforming sequences of figures.

This film is inspired by the architecture of the M+ Museum in Hong Kong, questioning the conventional definition of a museum as such by taking it out of its context and regarding it as a pure object. A complex interplay of geometrical forms, inspired by the interior of the Hong Kong museum building, refers to the elementary structures that determine our material world.

Coarse pixelated lines burst into our field of vision. They seem to communicate, but in a strange language. A little later they explode in a blaze of colours, while old-fashioned test patterns sneak into the background. Memories of a not-too-distant era come to mind, when everything was analogue and pixels could only dream of their big future.

On the one hand, the title of this film refers to the tradition of numbering the individual sheets of graphic sequences. On the other, it refers to the speed at which a film is projected, which is 25 frames per second. Every drawing resembles the previous one, almost like a copy. In fact, they differ only in details – which, however, gain significance in motion.

Twelve image tiles merge in a rhythmic dance that explores the intrinsic relationship between sound and image. The elements in the tiles, created by painting and scratching directly on the 16mm film strip, respond to the hand-drawn soundtrack and engage in a surprising and surreal dialogue. Their language cannot be understood, only felt.

In the direct animation style of Len Lye or Stan Brakhage, the dynamic images of this energetic music video groove to the sound of Four Tet. Elements of jazz, punk and techno seem to be discernible, but the idiosyncratic audio is as elusive as the visual events. Everything dashes away at breakneck speed. A bracing sprint for the eyes and ears.

As light as a feather, this film creates an illusion of movement using hundreds of minimally different paper pyramids. Image by image, one geometric body is replaced by the next until an impression of deformation is generated. The delicate vibration created by the exchange of the pyramids and not least the changes of position in space makes them come to life.

Single frames from a direct animation appear on the screen in staggered repetition. The shapes painted, printed and scratched on 35mm material evolve, with minimal time lapses, from one edge of the frame to the other. A trace is left, telling of time itself and asking: When exactly is “now”? The past, present and future are spinning in the chaos of moments.

Shimmering lines intertwine constantly to create ever new digital webs. The third dimension is added by diagonals. A moving camera allows us to finally recognise the secret that the visual elements have kept hidden so far: A 3D model of the Kunsthaus Basel creative centre disentangles itself – only to fade back into the luminous void.

We would not be surprised if this multiple-award winning, internationally acclaimed, and extremely charming film were to be found in an encyclopaedia under the entry “colourful”. Protean shapes in dynamic motion visualise the rhythm of a lively piece of music, leaping like fireworks from the textured black background and animating the screen.

An oily liquid oozes across the frame. Wafting windows in the black mass draw the eye to the levels below. Everything is in motion. Hypnotic music enhances the viscosity of the soft body until we believe that we see a “Liquid Light Show” from the 1960s. But these are the dark revenants of psychedelic hippie visuals that put us into a black trance.

The images, whose finely chiselled materiality recalls the surface of the human skin, explore the experience of physical contact. Dark ink spots cover the paper background, disrupting its clear white colour. Flashing colours and an electrifying sound make the sensation of touch tangible. The extreme enlargement creates an intimate relationship with pigments and textures.

This visual symphony unfolds according to the principles of swarm behaviour. Digitally created clouds of dots organically flow into each other. Everything lives, breathes, is sensual and tactile, feels soft and harmonious. A warm, light sound carpet flows around the constantly moving landscape. An allusion to the cyclical nature of our life.

The breakbeats that drive the flowing surfaces and shimmering textured shapes of this experimental music video seem heavy and fragile at the same time. The soundtrack evokes 1990s drum and bass music, but remains hypnotic and soothing. The appeasing images and sounds seem made to accompany the last hours of a sleepless night.

An abstract video artwork that explores the fleeting nature of colours, textures and shapes. The images are reminiscent of the rough surface of a damp cave wall on which the light of a distant torch is refracted. Time loses meaning, shadowy crystal structures emerge and fade. An opalescent colour apparition tries to assert itself in this space.

The flowing movement of a mountain landscape shrouded in orange fog is disturbed. The regular wafting stops, the landscape structures crumble. The atmospheric sound becomes a shrill screech. “For Tashi” describes the physical and emotional turmoil of a woman after the loss of her unborn child, seeking resonance with the viewers, hoping for comfort.