The crop circle mystery turned the wheat fields of southern England into apparent landing grounds for UFOs, earth energies and unknown intelligences. Then Doug Bower and Dave Chorley stepped forward with a plank, some rope and the awkward suggestion that the paranormal phenomenon had begun as two men having a laugh.

Andy Warhol’s Exploding Plastic Inevitable threw the Velvet Underground, underground cinema, strobe lights, dancers and a mirror ball into the same room and turned a concert into sensory overload. In 1966 it looked like downtown New York losing its mind; decades later, much of modern live visual culture looks strangely familiar.

Dogme 95 declared war on elaborate sets, artificial lighting, added music, special effects and even the director’s credit with ten deliberately severe filmmaking rules. What began as Lars von Trier and Thomas Vinterberg’s 1995 provocation produced remarkable films, exposed its own contradictions and anticipated the stripped-back digital cinema that followed.