John Whitney Sr.

Independent filmmakers are given a chance to show and discuss their work on a commercial (ABC-TV) affiliate station.

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

Moon Drum offers an impressionistic evocation of the mood, color and feel of native American art created by computer graphics.

A piece of abstract cinema by John Whitney. A series squares follow a 3-dimensional track, each one with a slight delay after the other.

John Whitney's pioneering work of computer animation, Arabesque, from 1975. This flowing, abstract short film is a wonder to behold, a work of art. Like many other computer graphics pioneers, this film suggests roots in psychedelics and spiritual quests as much as engineering and mathematics. Preserved by the Academy Film Archive in 2007.

An experimental short film by John Whitney Sr. which combines animated shapes and colors; Computer graphics as dynamic, swirling art. Preserved by the Academy Film Archive in 2014.

Short film by John Whitney. Preserved by the Academy Film Archive in 2005.

Short film by John Whitney. Preserved by the Academy Film Archive in 1999.

A silent black and white computer graphic short film specially made to accompany John H. Whitney's Lecture on Digital Harmony at Cranbrook, British Columbia, Canada, in 1973.

A UPA/CBS cartoon film by Ernest Pintoff and John Whitney, music by Shorty Rogers.

(ca.1949, 16mm, b/w, sound, 3min.)

A Personal Search For the Complementarity of Music and Visual Art (1992) uses the concept of complementarity to make sense of the confusion that existed between fine art and technology in the late 20th century.

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

John Whitney, Sr. one of the early pioneers in films made by computer-driven cameras explains and demonstrates his work. Shot on location at Whitney's home in California, includes excerpts from his films "Matrix 3", "Catalog", "Permutations" and "Lapis." 1975. Making abstract motion in time, and impinging directly on the viewer's emotions as music does -- these were among Whitney's early goals. "Music organizes time in a special way, creates tension in us, then satisfies, gratifies. We can do the same for patterns-- something is going to happen, make it happen in a way you don't expect. Film permutations can be parallel to tones in harmonic sequence; dominant chord resolves into tonic chord." To do this, says Whitney, "we need new tools, and to learn how to control them. They're unlike musical instruments which we have been practicing on for 300 years. We have to start from scratch. " - Stephan Chodorov, Writer.

Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.

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.

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

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.

Collection of Computer Graphic effects.

John H. Whitney Sr. explains the graphic art potential of the computer and the methods and philosophy involved in his computer filmmaking. Preserved by the Academy Film Archive in 2012.