2013 “Animation Excerpts by Lillian F. Schwartz (1970-2013)” – 40.51 Min.
1976 “THE ARTIST AND THE COMPUTER” – 10 Min.
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.
1981 “CARTHAGE 146 B.C.” – 29 Min.
The Legend – History – Excavations of Carthage
The computer was used to reconstruct the military and commercial harbors of ancient Carthage, to represent the changes from the Phoenician alphabet to the Greek and then into Latin, and to electronically reconstruct and identify the remains of urns. Nominated for an Emmy. Funded by The Corporation For Public Broadcasting.
Your question about the period between the publishing of my findings re the perspective of the Last Supper and the current analysis involving the hands of Christ and Judas provoked me to review the time line in my work with Analysis and Computers.
When I had the opportunity to produce a documentary on the “Excavations of Carthage” I soon learned that there was very little left of Carthage to record. The Romans did a fine job of burning Carthage. There were a number of questions posed by the archaeologists: where was the common entrance to the commercial and military harbors of Carthage? Pliny had written of these extraordinary harbors; what was the sea level at this period? How could the few chards that were dug up help to create a reliable record as to their dates/shapes etc? how did the evolution of our alphabet come about from the Phoenicians who were the ancestors of the Carthaginians? There were many more questions including infant sacrifice.
You probably realize by now that I was eager to get the go ahead from CPB since Jeffrey was on the dig! Of course, I did not tell anyone about this. I had heard from Jeffrey how upset the teams were with funding running out and unanswered questions. Stager was head of the American team. The Brits were in charge of the harbors; the Dutch were trying to determine what the Carthaginians had eaten.
I did not intend to get into all this but just as an introduction to the early stages of getting people at Bell Labs to help me harness the computer to rebuild Carthage from what data remained.
1979 “RITUEL” – 30 Min.
Music performed by The New York Philharmonic Orchestra and conducted by Pierre Boulez. Schwartz manipulates by computer, in real-time the images of the Maestro to realize a unity between his music and the picture. Premiered at IRCAM in Paris. Presented International Video Art Festival, Portopia ’81 in Kobe, Japan.
1978 “POET OF HIS PEOPLE” – 13 Min.
A new documentary form that intermixes live action, still footage, computer images, dance and poetry to achieve an artistic and intellectual union. Neruda’s life unfolds and becomes the basis for the symbolic representation of his poem “Barcarola”. Invited to the Venice Biennale, 1981. Director’s and Writer’s awards Santa Fe Film Festival.