Newtonian I 1978

An illusion of 3 dimensions is achieved by a blending of mathematics and physics to carry the spectator through a new range of audio and visual dynamics.

Bagatelles 1977

Abstract images of frame-by-frame animation with subtle growing effects of crystals are enhanced by polarized colors.

La Spiritata 1976

Music “Canzoni per sonar a quattro” by Giovanni Gabrieli, performed by Elizabeth Cohen, Max Mathews, and Gerard Schwarz. Images generated by computer.

Fantasies 1976

Computer generated images used as counterpoint to music “Fantasia & In Nomine” by John Ward, performed by Elizabeth Cohen, Max Mathews, and Gerard Schwarz.

Kinesis 1975

Escher-like images stepping through the frames to the music of a jazz group. Delightful–shows a depth in the imagery not accomplished by computer before.

Collage 1975

A swift moving assortment of moving images. Filmed from a color TV monitor that was computer controlled.

Alae 1975

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.

Galaxies 1974

Computer-simulated disk galaxies that are superimposed and twirl through space in beautiful colors at different speeds.

Mirage 1974

Filmed directly from color television controlled by computer programs. Beautifully flowing shapes that overlap and intertwine.

Innocence 1973

Computer generated music and visuals films directly from a color TV monitor.

Papillons 1973

Mathematical functions are the basis for a science film on contour plots and an art film. Both are shown simultaneously at a two screen production for an IEEE conference in NYC. Beauty in Science & Art.

Enigma 1972

“Lines and rectangles are the geometric shapes basic to ENIGMA, a computer graphics film full of subliminal and persistent image effects. In a staccato rhythm, the film builds to a climax by instantly replacing one set of shapes with another, each set either changing in composition and color or remaining for a moment to vibrate strobiscopically and then change.” – The Booklist.

Tondo 1973

Tondo introduces the cosmic formalism that was the primary theme of Al Jarnow's independent films. An infinite gridscape alternates with vibrating etchings, spirograms and other surreal realities.