Lacking a formal narrative, Warhol's mammoth film follows various residents of the Chelsea Hotel in 1966 New York City. The film was intended to be screened via dual projector set-up.

Polar Life’s novelty was its theatre, with the audience seated on a central rotating turntable in the middle of eleven fixed screens. Viewers have described the intricate juxtaposition of screen images and narration and the complex relationship created between moving spectators and multiple screens. Documentation images and scripts of the bilingual narration by Lise Payette and Patrick Watson show elaborate temporal and spatial representations of the Arctic and Antarctic regions: the Inuit in daily activities in the Canadian North; other northern peoples of Alaska, Lapland, and Siberia; and settlers from the South, scientists, explorers, and other inhabitants of the landscape, including reindeer, bears, and birds. Archival film footage of early northern explorers, combined with newly shot documentary footage, was edited across the various screens to create spatial relationships that are sometimes coherent, sometimes fragmented.

An immersive installation by the artist and filmmaker. "Coda" to Looking for Langston.

Using the structure and duration of a pop song, artist Benny Nemerofsky Ramsay comments on the pervasiveness of communication in “the information age” at the turn of this century. The video also acts as a reflection on the virtual reality we experience via innumerable screens today.