SHOWCASES

Every film in this room ends where it started, so the programme has no beginning and nothing to be late for. People wander in, stay for two loops, and leave in the middle of a third.

We asked for work that survives repetition — pieces that reward the second viewing rather than spending everything on a reveal.

An ident has about two seconds to say whose channel you are watching, and this wall plays only those two seconds, eighteen times over.

Stripped of their endings, the idents stop being little films and start being arguments about how fast a mark can become legible.

A printed specimen shows you a face standing still. These twelve show the same faces changing weight, width and speed, which is how most people meet type now.

Half the reel comes from foundries releasing variable families; the other half from designers who took a static face and made it move anyway.

The late slot goes to student work, uncut and unranked, in the order the schools sent it.

It is the roughest programme of the three nights and usually the one people argue about on the way out.