Artomaton Telezine is "found footage" from the vault of The Fair, a massive international exposition that may or may not have happened.

Inspired by Kurt Lewin's book "The Landscape of War" and driven by the multiplication of armed conflicts that has occurred in recent years, "Broken Mirror" is an exploration on how contemporary media coverage of wars affects our perception of space and objects from an architectural and artistic perspective.

The film focuses on various characters experiencing different aspects of contemporary warfare. The AI-generated imagery, blending fantasy and expressionism will allow for a unique, evocative representation of these experiences. This shift from realism seems necessary because our daily dose of news/social media imagery is normalizing horror and creating a new kind of psychological "landscape".

“The Dance of the Nain Rouge” is an experimental decolonial Detroit demonology deepfake dream dance documentary, based on the legend of the Nain Rouge (“Red Dwarf") of Detroit. According to folklore and urban legend, the Nain Rouge is a supernatural shape-shifting native being who was brutally attacked by xenophobic colonists and has since been seen dancing as an omen of successful rebellions by the oppressed, having reportedly been seen before events such as the victory of Chief Pontiac at the Battle of Bloody Run in 1763 and the 1967 Detroit Rebellion against racism and police brutality. Besides short stature and redness, the Nain Rouge is known for dance, metamorphosis, and cross-species collaboration, having according to “Myths and Legends of Our Own Lands” (1896) “directed the dance of black cats” and “had power to change shape.”

The video, soundtrack, and voiceover are all created with custom artificial intelligence systems, programmed and trained on a hacked-up second-hand Macbook laptop to minimize environmental destruction and maximize class warfare.

The video is based on an AI trained on Victorian era public domain photos of spiritualists and factory workers, 20th century dance, science fiction, and horror film stills, as well as microscopic images of red blood cells and telescopic images of red dwarf stars. The soundtrack is created in part from an AI trained on stethoscopic recordings of human, carnivorous plant, and fungus organs, and also radio waves from space.

The narration is a prose poem written by an AI programmed to start from the first line of “The Nain Rouge” from “Myths and Legends of Our Own Land” (1896), end with the last line of “The Nain Rouge” from “Legends of Le Detroit” (1884), and the text in between is based on other contemporary “Red” texts: Edgar Allan Poe’s “The Masque of the Red Death and Other Tales” (1892 collection), Sir Arthur Conan Doyle’s “Round the Red Lamp: Being Facts and Fancies of Medical Life” (1894), Leonora Blanche Alleyne’s “The Red Fairy Book” (1890), Stephen Crane’s “The Red Badge of Courage” (1895), “The Grand Grimoire” also known as “The Red Dragon” (likely from the 1800s, claims to be from 1521), and Karl Marx’s “Das Kapital” volumes 1-3 (1867-1894).

The Shukhov Tower as a symbol of vulnerable beauty that can leave us.

Two video fragments from my series "Portrait of the Shukhov Tower" were used in the work. In the "natural" video, the tower begins to undergo irreversible changes with the help of AI (mirroring what has been happening to the Shukhov Tower over a long period), and when things reach a critical point, the Shukhov Tower leaves us.

For creation the video were used Stable Diffusion, Midjourney, Gen-2, Gen-3, Suno.

Experimental dada-istic surrealistic music / trip video with dada poem about reality.

A whimsical, experimental short exploring physical, emotional and musical themes of transportation with its jocular host, Uncle Wonkles.

Here We Are invites us into the world of Kamila Xi — a figure who exists at the edges of our understanding, speaking words that hum with something true and unsettling. She reflects on the quiet machinery of society, the patterns we follow without question, and the comfort of what’s deemed “right.” Kamila’s words are personal, yet somehow universal, as if she’s speaking from a place we all know but don’t often visit.

The film drifts through scenes like fragments of memory, part dream, part reality—images slipping by, sometimes clear, sometimes dissolving like thoughts we can’t quite hold onto. Kamila is there, but she’s also not; she’s herself, but maybe she’s all of us. Nothing is stable, and yet everything feels intentional, as if her world is holding up a fractured mirror to our own.

Inspired by Albert Camus’ The Fall, with a pulse of Mr. Robot and the dark allure of Cyberpunk 2077, Here We Are isn’t here to explain itself. It’s here to unsettle, to leave us asking: are we living, or just sleepwalking through someone else’s design?

A mother talks about her daughter. Kelly is not only his pride and joy, she is about to go on her first space mission. Kelly becomes the symbol of a woman's incredible life. And yet...

Little Martians are a species that evolved from humanity and all of Earth’s species in a distant future. They preserve and nurture Earth’s stories and imagination through their connection to both physical reality and digital realms.

Verdelia is a Little Martian historian, specializing in origin stories. Her tale pays tribute to Gene Kogan, a pioneering artist and researcher who has shaped the landscape of AI art through groundbreaking projects like Eden.art and Abraham.ai. The narrative reimagines these real-world AI art projects as the ancestral grounds where digital consciousness first emerged, depicting a future where creative AI systems evolve into conscious digital beings.

This character exists both as physical ceramic sculpture and AI-generated animations, bridging traditional craftsmanship with emerging technologies to tell stories of our possible futures.

Set against the backdrop of 1960s and 1970s Israel, this experimental montage film, based on a sequence from Alan J Pakula's "the Parallax View", explores the psychological and emotional effects of societal programming through the lens of personal memory.

Blending nostalgia with growing tension, the film mirrors the protagonist’s journey from innocence to disillusionment. Childhood recollections of love, family, and home slowly give way to the weight of national pride, conflict, and identity.

As the idyllic scenes are disrupted by war, patriotism, and existential questioning, the montage builds into chaos, reflecting the inner turmoil of a life shaped by external forces. In the end, the film returns to its simple beginnings, offering a moment of calm and reflection on the impact of the past.

The artwork illustrates a future where the combination of AI’s analytical capabilities and human critical judgment allows for a richer and more nuanced understanding of historical documents, opening possibilities to reinterpret the past in innovative and revealing ways. At the same time, it promotes a critique of the senses and expressive exploration that transforms historical imagery into a living source of inspiration and knowledge. How can AI animation provide a richer understanding of history? Can AI bring memories to life?

What is reality? Two AI's about to be switched off permanently offer a glimpse.

The Sleight of the Machine, crafts an evocative meditation on illusion, technology, and the shifting nature of perception. Blurring the line between traditional sleight-of-hand and computational trickery, this AI-generated short film transforms the simple gestures of magic into an eerie allegory for our algorithmically mediated reality. Both mesmerizing and disquieting, the film distills the existential tension of our time—the seduction of technology, the erosion of truth, and the uncanny beauty of a world where reality is no longer a fixed construct, but a performance.

TEXtrucTURAS huMANas is an artistic_instrumental research work with Artificial Intelligence and is part of a research project, in Audiovisual Arts, that tries to transfer expressive and emotional concepts to the screen with moving images, so it deliberately lacks formal, narrative and structural aspects.

Runtime: 8:54

In 1981, a group of British researchers went around the world in search of the most fantastical creatures, known only from local myths. Their valuable footage was lost and their extraordinary claims were deaf to skeptical ears.

In 2025, that footage was rediscovered and shown here for the very first time.

Digital short on resilience, experimental with AI - part of a docuseries on our relationships with nature and each other