A swift moving assortment of moving images. Filmed from a computer controlled TV monitor by Lillian Schwartz. Music by Joe Olive.

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Music by F. Richard Moore. “The most fascinating use of the computer in filmmaking that I have seen recently is in L. Schwartz’ ALAE. Beginning with footage of sea birds in flight, the film image is then optically scanned and transformed by the computer. The geometric overlay on live random motion has the effect of creating new depth, a third dimension. Our perception of the birds’ forms and movements is heightened by the abstract pattern outlining them. Even if you suffer from the delusion that if you’ve seen one computer film, you’ve seen them all, give this stunning, original film a chance. Should you remain unconvinced, ALAE is a good example of the fact that computer technology seems destined to play an important role in animation.” – Jana Varlejs, Cine-Opsis, \f2Wilson Library Bull.\f1, March 1976. Whitney Museum of American Art.

Music Symphony in D Major by Salieri. “As expert hands in the complex techniques of integrating the computer and animation, L. Schwartz and Ken Knowlton make fascinating use of exotic, flowing forms, colors and electronic music in ‘Metamorphosis’.” – A. H. Weiler, N. Y. Times. “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, Sight Lines, Vol. 8, No. 4, Summer 1975. Sinking Creek-1974; 1975 American Film Festival “Film as Art”. A three screen production.

Film created by Lillian Schwartz. Computer images supplied by Dr. Frank Hohl, NASA, Langley Air Force Base. Music by F. Richard Moore. Assistance by Martha Southern and Lorinda Cherry, Bell Laboratories. Recent screening at the Museum of Modern Art, New York, December 10, 2012.