Beyond

Alice ends up in the derelict houses of Coney Island and Times Square. She sinks into a wonderland of decadence and despair, into the no-mans-land of lost souls, charlatans, broken dreams and cheap perversions.

(Fictional history): This film was made by in 1937 Arthur Rosenzweig, a member of the Coney Island Amateur Psychoanalytic Society. Here he recreates one of his dreams on film and analyzes it according to Freud's theories.

(Fictional history) A film by Stella Weiss (1962) 16mm silent

(Fictional history): Year: 1931 Filmmaker: Charmian de Forde Music: Duke Ellington, "Mooche", "Black and Tan" Transfer note: copied at 24 frames per second from a 16mm black and white Kodak print with variable density optical sound track. Running time: 6 minutes 22 seconds

(Fictional history): Year: 1926 Filmmaker: Albert Grass Transfer note: copied at 18 frames per second from a 16mm black and white Kodak safely film original. Running time: 2 minutes 41 seconds Silent

Teddy Weisengrund, a member of the Coney Island Amateur Psychoanalytic Society, recreates one of his dreams on film and analyzes it according to Freud's theories.

(Fictional history): Year: 1945 Filmmaker: Molly Lippman Transfer note: copied at 18 frames per second from a Regular 8mm black and white Kodak film, and Regular 8mm Kodachrome original. Running time: 3 minutes 46 seconds Silent

Zoe Beloff Surprise: Bertold Brecht and Walter Benjamin have been reincarnated as an Iranian and an African-American and they roam today’s New York. At times they are a comic duo, at others the voice of our conscience: the babbling couple provides good weapons to attack the world.

Inspired by J.G. Ballard's novel Crash, the film focuses on Jack and Diana Weston, who, after suffering a car crash, find their lives intruded upon by Dr. de Freis, a chronicler of car accidents who attempts to verify the psychological changes that occur in victims of accidents and the subsequent articulation of their anxieties.

(Fictional history) A film by Eddie Kammerer (1972), 16mm sound

In 1948 the James Agee wrote a scenario for his lifelong hero, Charlie Chaplin. Deeply disturbed by the bombing of Hiroshima and Nagasaki, Agee imagined New York destroyed. In the ruins, Chaplin's Little Tramp builds a shack in Central Park. Gradually a small community of the dispossessed grows up around him. For Agee, his story was a thought experiment about how one might start again in the aftermath of disaster, to go beyond capitalism and just how hard that is in the face of our modern technological world. The film focuses on his imaginative journey and what it might mean for us today.

Zoe Beloff introduces the other installation, Days of the Commune, in her exhibition at the Talbot Rice Gallery. Beloff studied the activities at Occupy Wall Street and created documentary style drawings of what she saw. She then recruited actors, activists and artists to take part in performances of Bert Brecht's play, 'Days of the Commune', written about the Paris Commune of 1871.

(Fictional history): Year: 1954 Filmmaker: Beverly d'Angelo Transfer note: copied at 24 frames per second from a 16mm Kodachrome original with magnetic stripped sound. Sound: from the album "Wild Percussion and Horns A'Plenty" Dick Schory's New Percussion Ensemble Running time: 3 minutes 5 seconds

(Fictional history): Years: 1926,1927,1934 Filmmakers: not known Transfer note: copied at 18 frames per second from a 16mm black and white Kodak safely film original. Running time: 5 minutes 28 seconds Silent

(Fictional history): Year : 1964 Filmmaker: Robert Troutman "Bobby Beaujolais" Transfer note: copied at 18 frames per second from an 8mm Kodachrome camera original with magnetic stripped sound. Music: "The Man that Got Away" and "Somewhere over the Rainbow" sung by Judy Garland on the album, "Judy at Carnegie Hall" Running time: 5 minutes 10 seconds

Our emotions are increasingly being turned into commodities, manipulated by global corporations. This hack of an IBM commercial suggests how. What does the future hold for a world where people are treated like objects, while online objects are being granted agency and becoming increasingly anthropomorphic?