"Bruce and Katharine Cornwell are primarily known for a series of remarkable animated films on the subject of geometry. Created on the Tektronics 4051 Graphics Terminal, they are brilliant short films, tracing geometric shapes to intriguing music, including the memorable 'Bach meets Third Steam Jazz' musical score in 'Congruent Triangles.' Their work, distributed by the defunct International Film Bureau, is now out of distribution."
(Geoff Alexander, 2015, Academic Film Archive)
"Around Perception is a groundbreaking experiment on computer–based animation, consisting of 11 audiovisual events designed to baffle cognition and unrest comfortable notions of reality. Unlike most of his later films, Hébert chose not to collaborate with top–notch experimental musicians and created the soundtrack himself. In this, he followed a method also used by Norman McLaren: to scratch sound directly onto the film itself. The relation between sound and picture, however, is not as symbiotic as in McLaren's Synchromy: although there are organic reactions between the two domains, one is not a direct translation of the other. This, of course, need not be seen as a weakness. Indeed, with its fast–paced changes of color and geometrical patterns, and the employment of Columbia–like richly crafted electronic tones, Around Perception works as a tremendously hallucinatory exercise in trompe l'oeil (and l'oreille) techniques. Or, as stated by Hébert himself at the beginning of the film, an exercise 'for the mind and against the mind'."
(The Sound of Eye)
Fig.1 "Around Perception", Director: Pierre Hébert, Year: 1968, Time: 16 mins, Music: Pierre Hébert.
"Produced by Larry Keating for AT&T. 'THE ARTIST AND THE COMPUTER is an excellent introductory informational film that dispels some of the 'mystery' of computer–art technology, as it clarifies the necessary human input of integrity, artistic sensibilities, and aesthetics…. Ms. Schwartz's voice over narration explains what she hoped to accomplish in the excerpts from a number of her films and gives insight into the artist's problems and decisions…. I would recommend THE ARTIST AND THE COMPUTER for all grade levels, in classes on filmmaking, art appreciation, and human values.' – John Canemaker, Film News, Animation, Jan.–Feb. 1978. Cine Golden Eagle 1976; New York Film Festival; USIA – Animation and Education 1977; Annual Creative Problem Solving Institute, 1980. Recent screening at the Museum of Modern Art, New York, December 10, 2012."
"Karlheinz Stockhausen (August 22, 1928 – December 5, 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his ground–breaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. ... Similar Artists: Iannis Xenakis, John Cage, Luciano Berio, Luigi Nono, Morton Feldman, Olivier Messiaen, Arnold Schönberg"
Fig.1 Omnibus (1981). "Tuning In: A Film About Karlheinz Stockhausen", television documentary, BBC1 [published on 13 May 2012 by Thiago Carvalho Fernandes, YouTube].
"The story of Electronic Music, from the sound experiments of the 1950s through the digital revolution to today, is one of invention and innovation. Developed with a team of electronic musicians, our exhibition charts this history with examples of music making technology spanning more than 50 years. ...
The story begins with the BBC Radiophonic Workshop and Electronic Music Studios (EMS), two organisations that broke musical boundaries in the postwar years. Objects from this era include the EMS VCS3, the first portable synthesiser.
Also on display is the Oramics Machine, a revolutionary music synthesiser that was created in the 1960s by Daphne Oram, founder of the Radiophonic Workshop. Daphne created this visionary machine that could transform drawings into sound, and it was recently acquired by the Science Museum in co–operation with Goldsmiths, University of London."
(The Science Museum, 2011)
Fig.1 "Oramics to Electronica", Directed, Produced, Filmed and Edited by Jen Fearnley & Nick Street, Commissioned by The Science Museum, London.
Fig.2 "Daphne Oram", Mick Grierson, Director of Creative Computing at Goldsmiths, University of London, and Director of the Daphne Oram collection.