The WormEd Atkins / Denmark, United States, Germany / 2022 / 13 min / World Premiere

‘The Worm’ is a performative video work based on a call from artist Ed Atkins to his mother, with Atkins himself as the digital avatar, caught in an endless loop of glitches.

Ed Atkins’ hyper-realistic digital animations explore the unsettling depths of ‘the uncanny valley’ – the alienating effect that arises from the conflict between lifelike and artificial – with both humour and melancholy. In ‘The Worm’, made during the shutdown, he stages a phone call with his own mother. We hear her, but never see her. Atkins himself, on the other hand, appears as a digital avatar, caught in an endless loop of glitches – or are the digital tics perhaps a new kind of Freudian slips? Over the phone, in turn, his mother is candid about her dreams and disappointments in a life where both her own mother and her husband have struggled with diagnoses that were never made in an era when emotions were often taboo.

AbyssGoogle’s Image Recognition AI, Jeppe Lange / Denmark / 2022 / 13 min / World Premiere

A mind-expanding, cosmic sensory bombardment composed of 10,000 still images, linked together by Google’s artificial intelligence.

10,000 still images are linked together in a mind-expanding, cosmic sensory bombardment as a catalogue of everything the world holds – according to a computer. In ‘Abyss’, video artist Jeppe Lange has used Google’s image search engine to create a montage in which each image resembles the previous one as closely as possible. It’s just the crucial differences that make ‘Abyss’ a constantly mutating, hallucinatory experience before your eyes. Artificial intelligence, in fact, is not interested in scale, emotion or context, but only in abstract patterns, colours and correlations. And then suddenly it’s not very far from nebulae to specks of dust.Please note: The film is not recommended for viewers with epilepsy.

Everything But The WorldDIS , Lauren Boyle / United States / 2022 / 37 min / World Premiere

Human past and future intersect in a non-linear, natural history meta-documentary about ourselves: Homo sapiens.

In a series of interconnected sci-fi vignettes, ‘Everything But The World’ connects the Neolithic Revolution with Amazon’s modern, materialistic ‘fulfillment centers’: giant warehouses that loom over the landscape like archives of modern man’s most basic/banal needs and desires. As a non-linear, natural history meta-documentary about Homo sapiens, DIS’s video work chronicles an evolutionary story that starts somewhere in the depths of the past and tentatively peaks with our current obsession with the end of the world, knowing that there is a blind, anthropocentric arrogance in referring to the world in the singular. With a female warrior figure representing humanity in an artificial greenscreen desert, this is a work that reflects on alternative futures to the one that capitalism has laid out for us.