Five Film Exercises: Film 4

The entire film is divided into four consecutive chosen approaches—the fourth section devoted to a reiteration and extension of the original material. Preserved by the Academy Film Archive in 1999.

Five Film Exercises: Film 2-3

Two short fragments resulting from experiments in controlling the mechanical development of the instrument. Preserved by the Academy Film Archive in 2005.

Celery Stalks at Midnight

Early 'visual music' film by John Whitney. Preserved by the Academy Film Archive in 1999.

Five Film Exercises: Film 1

Begins with a three beat announcement drawn out in time which thereafter serves as a figure to divide the four sections. Each return of this figure is more condensed, and finally used in reverse to conclude the film. Preserved by the Academy Film Archive in 2004.

Five Film Exercises: Film 5

Opens with a short canonical statement of a theme upon which the entire film is constructed. The canon is repeated in contrasting variations by means of color. A second section poses the same image in deep film space. The image unfolds itself repeatedly, leaving the receding image to continue on smaller and smaller. Preserved by the Academy Film Archive in 2005.

Matrix III

An abstract computer-generated animation set to music by Terry Riley.