The festival began Friday and ended Sunday, with the screenings and performances taking place in the EMPAC Studios and Theater. Creative director and founder Shane Walter gave brief introductions for the viewings. Hailing from the United Kingdom, onedotzero has traveled worldwide, including in European countries such as France, Italy, and Poland, and even as far as Singapore, Japan, and Korea.

The first screening, “Wow+Flutter 08,” presented animations and graphics in digital work through a wide spectrum of fields, including, but not limited to, graphic design, fashion, and architecture. While some displayed provocative artwork and animation (the U.K.’s own Minivegas “Aides” videos, for example), others showcased stories through the use of space, the ocean, plant life, and even chocolate. A personal favorite was Trevor Jiminez’s “Key Lime Pie,” which was set in a film noir style, where a detective narrates about his uncontrollable desires for key lime pie. “Terrafarmer,” by Will Adams, was also quite memorable; it followed an astronaut in his attempts to salvage life on a barren planet with the aid of a dysfunctional robot.

Music videos were also show-cased in the “Wavelength 08” screening due to their innovative style and animation technique. While some were familiar songs and videos (from Mika, to Gnarls Barkley, to R.E.M.), others are rarely screened and publicized. So-me, Machine Molle, and Yorgo Tloupas collaborated on the Justice song “DVNO” to showcase typography from the 1980s. Guest artist Quayola worked with Georgia Polizzi to produce Michael Fakesch’s “Miko,” which was all shot underwater at midnight. Then there was the highly impressive use of a Mac operating system in Dennis Liu’s video of “Again and Again” by the Bird and the Bee.

“Extended Play 08” showcased short films for their exceptional style and storytelling. These videos were a little longer, ranging from four minutes to the longest one, at 10. Ben Hibon’s “The Heavenly Sword: The Animated Series” was based on a five-part graphic novel and was reminiscent of Japanese-style animation. Another favorite of the group of videos—granted, many were highly spectacular—was “Musicotherapie,” a video collaboration between Ameal Isnard, Manuel Javelle, and Clement Picon; the video featured the rhythmic antics of deranged animals as an infuriated monkey doctor attempts to drown out the noise. One also cannot forget “L’homme à Tête de Poule” by Sylvain Jorget, Acel Morales, and Mathias Rodriguez, a video about a man with a chicken’s head.

The “Advanced Beauty” and “Top Draw” screenings were on opposite sides of the spectrum. “Top Draw” focused on hand-drawn crafts (like Juan Pablo Zaramella’s “Lapsus” and Dan Lowe’s “In Context”). On the other hand, “Advanced Beauty” was generated all through processing and code, releasing shapes and color in tune to music.

While the screenings took place, Quayola also presented his Strata installation in Studio 1; festival participants lay down on the ground to gaze above them, where they saw Roman architecture revolve, accompanied by music, sound, and digital effects. Outside on the Mezzanine, the Troika exhibit could be seen twirling like a zoetrope.

Live performances were also given during the festival, with Quayola’s “Path to Abstraction” and Jesse Stiles’ “Strata Live” on Saturday. Meanwhile, Scanner and Olga Mink presented a spectacular audio-visual treat for the audience on Friday night in “The Nature of Being,” which explores the beauty of natural surroundings, accompanied by on-the-spot sounds generated from Scanner and Mink’s laptops.