Seawright, James, 301
Permutations (Whitney, John, Sr.),
7362 (O'Neill), 83, 97-100
215-222, 250
Siegel, Eric, 314-316
Phenomena (Belson), 167-169
Single Wing Turquoise Bird, 392-396
Piene, Otto, 281-282, 299-301, 383
Sjölander, Ture, 331-334
Plasma crystal screens, 203-205
Slit-scan technique, 151-156, 167,
Plot, 64, 70, 81-122, 352-358
229, 230
Poem Fields (VanDerBeek-Knowlton,
Snow, Michael 83, 99, 122-127
246-249
Software, 78, 79, 132, 185-188
Polymorphous eroticism, 83, 112-121
Sontag, Susan, 70, 365
Post-Mass-Audience Age, 42, 128-
Space Theatre (Cohen), 371-374
134, 260-264
Stehura, John, 234, 239-246
Pudovkin, Alexander, 85
Stern, Gerd, 347-348
Stern, Rudi, 396-398
Stevens, Wallace, 75, 90, 133, 189
Radical evolution, 42, 48, 50-53, 58,
Superimposition, 84 - 87, 100, 110
65
Synaesthetic cinema, 42, 75-134
Read, Herbert, 70, 76, 111, 418
Synaesthetic cinema, and McLuhan, 77
Realism, cinematic, 79, 80, 107, 135
Synaesthetic cinema, and sex, 112-121
Reality, 43, 45, 46, 53, 79, 82, 106-
Synaesthetic cinema, and science, 76
108, 399, 415
Index 431
Synaesthetic cinema and synergy,
Thompson, Francis, 354-358
109-111
Tibetan Book of the Dead, 162-167,
Synaesthetic cinema, and technology
172
128-134
Tower, Alvin, 50, 51, 69
Synaesthetic cinema, and television,
Trumbull, Doug, 151-156, 230
77-80
TV Gallery (Schum), 292
Synaesthetic videotapes, 281-316
2001: A Space Odyssey (Kubrick),
Syncretism, 83, 84 - 91, 110, 226
43, 139 - 156, 162, 167, 174, 228,
Synergy, 109-111, 341
230, 241, 314, 316, 321, 394, 414
USCO, 347-348, 387, 391, 394
Tambellini, Aldo, 299, 308-314, 381-
Utopia, 47, 113, 419
383
Technoanarchy, 79, 415
Technological decentralization, 42,
78-79, 128-134
VanDerBeek, Stan, 193, 246-249, 276,
Technology and art, 42-43, 116, 128-
282, 349-351, 387
133, 189-193, 416-417
Video, de-beaming, 267-268, 275,
Technology and freedom, 78-79, 415-
287, 289, 291, 296, 301, 321, 326
419
Video, feedback, 274, 285-287, 320,
Technology and sex, 112-116
326, 334-336, 342
Teilhard de Chardin, Pierre, 45, 47,
Video, film chain, 274-276, 294, 296,
57, 157, 159, 160
317-334
Teledynamic environments, 337-341
Videographic cinema, 275, 317-336
Television, cable, 260-261, 352
Video, keying, 268, 273, 275, 287,
Television camera, 265-266
289, 291, 326
Television, and cinema, 77-80
Videosphere 78-79, 128-129, 132,
Television, closed-circuit, 78-80, 257,
143, 260-264
337-341
Video synthesizing 265, 314, 315,
Television as creative medium, 43,
Videotape cassettes, 128-134, 260,
257-344
264, 283, 352
Television, global, 57-58, 78-80, 257-
Videotape recording, 114, 128-134,
259, 343-344, 387
260-264, 275, 281-334
Television, and politics, 79
Videotapes, synaesthetic, 281-316
Television, and psychology, 78, 132-
Videotronic mixing and editing, 276-
134, 285, 291-292
280, 326
Television receiver, 266-267
Vorkapich, Slavko, 75
Television, satellite, 78, 261-263
Vortex Concerts (Belson-Jacobs), 162,
Theatre of Light (Cassen-Stern)
387, 388-391
396-398
Vostell, Wolf, 330, 383-386
Thermodynamics, laws of, 62-63
432 Index
Warhol, Andy, 66, 79, 80, 83, 102-
Whitney triple screen film, 231-234,
105, 1l7, 119, 122, 257, 399
246, 250
Wavelength (Snow), 83, 122-127
Wipe Cycle(Gillette-Schneider),
Weck, Lars, 331-334
341-343
WGBH-TV, 281, 298-301, 306,
Wise, Howard, 306, 313, 341
311, 343-344
Wuerker, Ralph, 407-414
Wiener Norbert, 44, 52, 63, 64 67
71, 183
Wilfred Thomas, 345, 396
Xfilm (Schofill), 83, 100-102
Whitehead, Alfred North, 47, 71
Whitman, Robert, 347, 383
Whitney family, 151, 155, 196, 206,
Yalkut, Jud, 328-330, 391-392
207-222, 228-239, 306, 378, 389
Yantra (Whitney, James), 223-226,
Whitney, James, 214, 222-228, 389
389
Whitney, John, Sr., 151, 196, 207-222,
Yeats, W. B., 133, 417-418
302
Yoga, 162-174, 222-228
Whitney, John, Jr., 155, 157, 206,
210, 228-239
Whitney, Mark, 228, 239
Zagone, Robert, 285-289
Whitney, Michael, 206, 210, 228-239
Zatlyn, Ted, 44, 147, 148
Jordan Belson: Phenomena. 1965.
16mm. Color. 6 min. ". ..As though you were approaching earth as a god, from cosmic consciousness. You see the same things but with completely different meaning."
(See page 167.)
Jordan Belson: (Left column) Samadhi . 1967.
16mm. Color. 6 min. (Right column) Momentum . 16mm. Color. 6 min. "I first have to see the images somewhere: within or without or somewhere. I mean I don't make them up . . . in a sense everything I've learned in life has been through my efforts to find out what these things mean."
(See pages 171,176.)
John Whitney: Permutations. 1967.
16mm. Color. 8 min. "The parallel is with counterpoint or polyphonic musical phenomena. Should it be called polygraphic phenomena?"
(See page 215.)
John Whitney: Permutations. 1967.
16mm. Color. 8 min. "So I ask myself what can be essentially the image of time for the eye to perceive?"
(See page 215.)
A selection of images from John Whitney, Jr.'s, triple-projection computer film. 1967. 16mm. Color. 17 min.
(See page 231.)
John Stehura: Cybernetik 5.3.1965-69.
16mm. Color. 8 min. "It creates an overwhelming atmosphere of some mysterious transcendental intelligence at work in the universe . . . as though one were peering into a new dimension of existence."
(See page 239.)
Terry Riley and Arlo Acton: Music With Balls. 1969. Hi-Band Color VTR.
15 ips. 23 min. "A rich mantra of color, sound, and motion. . . phantasmagoric convolutions of spatial dimensions."
(See page 293.)
Philip Makanna: The Empire of Things. 1969. Hi-Band Color VTR. 15 ips. 20 min. "Haikuesque impressions of things observed, events remembered, nightmares experienced . . . the sky bursts in spectral madness."
(See page 295.)
James Seawright: Capriccio for TV. 1969. Hi-Band Color VTR. 15 ips. 5 min. "It was possible to see two images of the same figure performing the same action at different stages in different colors."