A young space prince on the run from an evil space villain, stranded on Earth and waiting for his grandfather the king to rescue him, befriends an Earth child named Brian and together they evade robots, bears, and triangles.

Here the artist creates a world of color, form, movement and sound in which the elements are in a state of controllable flux, the two materials (visual and aural) are subject to any conceivable interrelation and modification.

A spec observation showcasing the movement, shutters, and potential thoughts

Mamori transports us into a black-and-white universe of fluid shapes, dappled and striated with shadows and light, where the texture of the visuals and of the celluloid itself have been transformed through the filmmaker’s artistry. The raw material of images and sounds was captured in the Amazon rainforest by filmmaker Karl Lemieux and avant-garde composer Francisco López, a specialist in field recordings. Re-filming the photographs on 16 mm stock, then developing the film stock itself and digitally editing the whole, Lemieux transmutes the raw images and accompanying sounds into an intense sensory experience at the outer limits of representation and abstraction. Fragmented musical phrases filter through the soundtrack, evoking in our imagination the clamour of the tropical rainforest in this remote Amazonian location called Mamori.

A dance of shapes. A title card tells us this is an experiment in conveying the mental images of music in a visual form. Liszt's "Second Hungarian Rhapsody" is the music. The shapes, all two-dimensional, are circles primarily, with some squares and rectangles, and a few triangles. The shapes move rhythmically to the music: receding from view or moving across the screen. Red circles on a blue background; light blue squares; white rectangles. Then, a red background of many circles with a few in the foreground. Red gives way to blue then to white. Shapes reappear as Liszt's themes re-occur. Then, with a few staccato notes and images, it's over.

In this video, children see how Tad and Lily use what they know about 2D shapes to learn about 3D shapes. Sharing food provides a meaningful context to introduce fractions as equal parts of a whole. Children also observe many different ways to measure things.

During the 1995 Summer Institute at The Geometry Center, a team of undergraduates, middle and high school mathematics teachers and Center staff developed curriculum materials supporting The Shape of Space video. The team developed a comprehensive curriculum, covering many areas related to the video. The following materials were selected for distribution based on their direct relevence to understanding the video itself.

This animated short is about a elipse who was made an outcast of the circle tribe, but he was exiled from his tribe, and he goes on a journey to get back to his tribe. He makes friends with a traveling triangle and the hippie hyberbolies who give him some mint to help him learn how to change shapes so he can be perfect once for all so he can return to the Circle tribe for good.

The GO Train entering and leaving Rutherford Station.

Excerpt from Dr. Malcom J Backer's Hyperexpiology Companion [revision 2b]: "...the destructive system is self replicating and self propelling . Functioning like a clock . Systematically . Efficiently . Relentlessly . A mindless machine. It will never be enough . The clockmaker eventually loses control . We are dreaming of a new day when a new day isn't coming . "

Not Knot is a guided tour into computer-animated hyperbolic space. It proceeds from the world of knots to their complementary spaces -- what's not a knot. Profound theorems of recent mathematics show that most known complements carry the structure of hyperbolic geometry, a geometry in which the sum of three angles of a triangle always is less than 180 degrees.