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Phenomenon No. 1

Dream matrix, history written in lightning image, memory and the TV syntax, images flowing and fused together to other images and electronic tapestry of images half seen, sought for, seeking man's dreams, movies as dreams, history as media. "The artist will tell you it is as much a process he is interested in ... as a result. Art is a process – life is a process – are they the same process? So many of the artists became unhappy about this eternal, unyielding quality in their art, and they began to wish their work were more like shoes, more temporary, more human, more able to admit of the possibility of change. The fixed, finished work began to be supplemented by the idea of work as a process, constantly becoming something else, tentative, allowing more than one interpretation." – Dick Higgins

Phenomenon No. 1

NR 1964
Target... Austin, Texas

Produced by Austin's local television station KTBC, Target Austin presents the scenario of a nuclear missile strike on the outskirts of Austin. The film follows the storylines of several characters from the CONELRAD broadcast to the announcement that it is safe to emerge from shelter. The film takes place in Austin, highlighting some iconic locations in town. It also features an Austin all-star cast and crew, including director Gordon Wilkison, narrator Cactus Pryor, actress Coleen Hardin and El Rancho restaurant owner Matt Martinez.

Target... Austin, Texas

NR 1960
Claes Oldenburg "Happenings": Ray Gun Theater 1962

Early in 1962 Claes Oldenburg offered a remarkable series of ten 'Happenings' in a store on East Second Street in New York City. The audiences were kept small to heighten the intimacy of the experience. What is a 'Happening'? It would seem impossible to describe afterwards. Yet Raymond Saroff compressed the rich and sprawling imagery of each evening-length work to the essential matter in hand, reassembling a visual realization of what was seemingly consigned to the memories of its audience. All the characterizations, the unprepared transitions, the very personal rhythms with something of Saroff's own: the 'Happenings' impact on a sensitive eye, its reduction to a single and coherent point of view. Features "Store Days I & II", "Nekropolis I & II", "Injun I & II", "Voyages I & II", and "World's Fair I & II."

Claes Oldenburg "Happenings": Ray Gun Theater 1962

NR 1962
Thaler’s, Meier’s, Sadkowsky’s Life in the Evening

"I wanted to make a portrait of three artists that would show them by primarily using their surroundings. Therefore, the artists themselves would not be in the picture but rooms, objects, where they walk to and where they drive, and personal and impersonal things around the artists would be described. Through the rhythm of the takes, I tried to achieve a poetic flow that would smoothly compliment their personalities. I told myself at the time that pictures and the rhythm of the pictures should be enough to characterize the three." (HHK)

Thaler’s, Meier’s, Sadkowsky’s Life in the Evening

NR 1967
The Molten-Salt Reactor Experiment

This film was produced in 1969 by Oak Ridge National Laboratory for the United States Atomic Energy Commission to inform the public regarding the history, technology, and milestones of the Molten Salt Reactor Experiment (MSRE). Oak Ridge National Laboratory's Molten Salt Reactor Experiment was designed to assess the viability of liquid fuel reactor technologies for use in commercial power generation. It operated from January 1965 through December 1969, logging more than 13,000 hours at full power during its four-year run. The MSRE was designated a nuclear historic landmark in 1994.

The Molten-Salt Reactor Experiment

7.4 1969
Tomorrow’s Promise

“Tomorrow’s Promise is a film about vacantness. Which physically does ‘begin’, reversed, upside down on the screen […] suddenly another such position is taken (not in reverse), this time by a male figure and soon, in this same section, the girl of the reversed image reappears posed in a different way; a way obsessed by ‘mood’. Then a technical play of in-the-camera-editing occurs, more intense, brighter than in the first, reversed section. There are several inter-cuts which serve, in this and each subsequent section unto the end, as relative links into the final section: which is actually the ‘story’. The story the protagonist and her hero try to tell in their way is apophysis; except that ‘pictures’, clear visions take the place of words. My film could have been edited with precise tensions and a lucid straight narrative, but it was my aim to ‘re-create’ the protagonist of my personal life.” - Edward Owens

Tomorrow’s Promise

4.5 1967
The Little Tree

“From the window of my bedroom I noticed a little shad-blow tree… I photographed it on 35-mm color film in every season and at all hours of the day… [Pare] Lorentz, like the great documentary film-man he is, immediately suggested that I transfer these pictures onto movie film and let one dissolve into the other. This struck me as a good idea. But then I thought, why turn these still pictures into a film? Why not start the series over again as a motion picture and take advantage of the wind and the rain and the movements of the water?” (Edward Steichen)

The Little Tree

NR 1961