Mime Control

Pixillation features computer generated abstract animations set to Moog-synthesized sound.

Blasting off into cosmic visual abstraction, pioneering computer artist Lillian Schwartz’s UFOs is a kinetic tour-de-force whose innovative pixel pigmentation showcased advanced stereoscopic technology as art.

“The changing dots, ectoplasmic shapes and electronic music of L. Schwartz’s ‘Mutations’ which has been shot with the aid of computers and lasers, makes for an eye-catching view of the potentials of the new techniques.” – A. H. Weiler, N. Y. Times

Study in motion based on Muybridge’s photographs of man running.

Pioneering artist Lillian Schwartz demonstrates the human input -- integrity, artistic sensibilities, and aesthetics -- that goes into producing early computer art. In voice-over she explains the intent behind a number of her films and offers insight into the artist's problems and decisions. Produced for AT&T.

Regulars gather at The Blue Jay, a gay bar in Manhattan's Greenwich Village, to celebrate Christmas Eve 1971 with people they consider family.

Extended editing techniques based on Land’s experiments affect the viewer’s sensory perceptions.

“Apotheosis, which is developed from images made in the radiation treatment of human cancer, is the most beautiful and the most subtly textured work in computer animation I have seen.” – Roger Greenspun, N. Y. Times Award Foothills-1973.

“Schwartz’ METAMORPHOSIS is a complex study of evolving lines, planes, and circles, all moving at different speeds, and resulting in subtle color changes. The only computer-generated work on the program, it transcends what many of us have come to expect of such film with its subtle variations and significant use of color.” – Catherine Egan

“Lines and rectangles are the geometric shapes basic to ENIGMA, a computer graphics film full of subliminal and persistent image effects. In a staccato rhythm, the film builds to a climax by instantly replacing one set of shapes with another, each set either changing in composition and color or remaining for a moment to vibrate strobiscopically and then change.” – The Booklist.

Computer generated music and visuals films directly from a color TV monitor.

Drawing on rare performances, interviews, animations, and experimental film, this documentary surveys the formative years of electronic music from 1948 to 1980. Featuring pioneering composers and inventors—including Milton Babbitt and Leon Theremin—the film explores the experimental technologies, academic laboratories, and creative struggles that shaped the early evolution of electronic sound.

Created in 1990 at AT&T's Bell Labs in a program called Sculpt, one of the very first real-time texture mapping programs.

Music by Albert E. Miller. Combination of musicians and dancers in free form movements captured by computer-controlled-video which permits distortions and variations of the imagery. Continued experimentation with Rock Music and performers.

This animation can be watched in 2D or using Chromadepth Glasses in 3D.

Music by Albert E. Miller. Experimental work with dancer and musicians to combine and present an unusual choreography of performers and music as a unified force.