1. Quoted in P. Adams Sitney, Visionary Film: The American Avant-Garde, 1943-1978 , 2d ed. (New York: Oxford University Press, 1979), 133.

2. Stan Vanderbeek, interview by Ed Emshwiller, recorded 15 December 1973, SUNY at Buffalo, Media Center, Inc.

3. Jonas Mekas, "Movie Journals," Film Culture 43 (Winter 1966): 11; reprinted from Village Voice , 25 June 1964.

4. William Eral, "Visions Unlimited: A Future View of Cinematic Art," Canyon Cinemanews (July-August 1974): 14.

5. Robert Breer, "Robert Breer on His Work," Film Culture 42 (1966): 113.

6. Oskar Fischinger, "Radio Dynamics: Document No. 2," in William Moritz, "The Films of Oskar Fischinger," Film Culture 58-59-60 (1974): 183.

7. Stan Brakhage, letter to Bruce Baillie, January 1969, Brakhage Scrapbook (New Palz, N.Y.: Documentext, 1982), 147.

8. Quoted in Gene Youngblood, Expanded Cinema (New York: Dutton, 1970), 228.

9. Ibid., 171.

10. Stan Brakhage, ["Introduction"], Metaphors on Vision (New York: Film Culture, 1963), n.p.

11. Brakhage, "The Seen," Brakhage Scrapbook , 207.

12. Carlos Castaneda, Tales of Power (New York: Simon and Schuster, 1974), 232.

13. Ludwig Wittgenstein, Philosophical Investigations , 3d ed. (New York: Macmillan, 1968), 124; quoted in Harley C. Shands, The War with Words (The Hague: Mouton, 1971), 103.

14. Aldous Huxley, The Art of Seeing (New York: Harper, 1942; Seattle: Montana Books, 1975), 83.

15. James Broughton, "Film as a Way of Seeing," Film Culture 29 (1963): 19. break

16. Ronald K. Siegel, "Hallucinations," Scientific American 237, no. 4 (1977): 132. All subsequent citations to Siegel are to this source, 132-40 and passim.

17. Brakhage, "Hypnagogically Seeing America," Brakhage Scrapbook , 105; Paul Sharits, "Notes on Films, 1966-1968," Film Culture 47 (1969): 13. Siegel speculates that the blue color "is related to the initial lowering of the body temperature and to the absorption of blue light by hemoglobin in 'floater' cells in the retina." "Hallucinations," 136.

18. Broughton, "Film as a Way of Seeing," 20.

19. Rhoda Kellogg, Analyzing Children's Art (Palo Alto: National Press Books, 1969), 65. See especially 64-93. See also Rhoda Kellogg, The Psychology of Children's Art (CRM-Random House, n.d.), 53-61.

20. Ronald A. Finke, "Mental Imagery and the Visual System," Scientific American 254, no. 3 (1986): 88-95.

21. Quoted in Larry Sturhahn, "The Art of Jordan Belson," Filmmakers Newsletter 8, no. 7 (1978): 24.

22. Quoted in Youngblood, Expanded Cinema , 159.

23. Quoted in Sturhahn, "Art of Jordan Belson," 23.

24. Jordan Belson, interview with the author, 1 December 1983. Unless otherwise indicated, quotations, paraphrases, and personal views ascribed to Belson are from this interview.

25. Quoted in Sturhahn, "Art of Jordan Belson," 24.

26. Ibid., 23.

27. Quoted in Youngblood, Expanded Cinema , 160.

28. Ibid., 160, 162.

29. Ibid., 160.

30. Ibid., 173.

31. Program notes for the "World Premier" of Meditation , Pacific Film Archive, Berkeley, California.

32. Quoted in a note on the films distributed by Pyramid Films, Pacific Film Archive, Berkeley, California.

33. Although I treat Infinity as a film, I believe it is available only on videotape with Music of the Spheres . Originally distributed by Iasos Inter-Dimensional Music-Video, Sausalito, California, but no longer available.

34. William Moritz, "James Whitney Retrospective," catalog of the Canadian International Animation Festival (13-18 August 1984): 10. I am particularly indebted to Moritz and to Mark Whitney for assisting my research on James Whitney.

35. Quoted in Takashi Teramaye, "Towards Being Choicelessly Aware: Conversations with James Whitney," unpublished interview, 1974, 6-7. Unless otherwise indicated, quotations from Whitney are from this extremely useful source, a copy of which is in the archives of La Cinémathèque Québécoise, Montréal.

36. Quoted in Youngblood, Expanded Cinema , 223.

37. Heinrich Zimmer, Myths and Symbols in Indian Art and Civilization (New York: Pantheon, 1946), 141.

38. This event followed the very successful "Vortex Concerts" at San Francisco's Morrison Planetarium, for which Belson was one of the organizers. The film is named for Pierre Henry's piece of electronic music, "Haut Voltage," which accompanied its screening at the San Francisco Art Institute. break

39. Moritz, "James Whitney Retrospective," 13.

40. Bela Julesz, Foundations of Cyclopean Vision (Chicago: University of Chicago Press, 1971); see also Bela Julesz, "Experiments in the Visual Perception of Texture," Scientific American 232, no. 4 (1975): 34-43.

41. Paul Sharits, "Notes on Films, 1966-1968," Film Culture 47 (1969): 13, 14. Unless otherwise indicated, quotations from Sharits are from this source, 13-16.

42. R. L. Gregory, Eye and Brain: The Psychology of Seeing , 2d ed. (New York: McGraw-Hill, World University Library, 1973), 110.

43. Mekas, "Movie Journals," 11.

44. Edward S. Small and Joseph Anderson. "What's in a Flicker Film?" Communication Monographs 43, no. 1 (1976): 31.

45. Fred Camper, "Paul Sharits," Soho News , 22 April 1976.

46. Robert E. Ornstein, The Psychology of Consciousness (New York: Viking, 1972), 126. Ornstein's chapter on "Meditation Exercises" (103-41) makes many points pertinent to the work of Sharits, Whitney, and Belson.

47. Small and Anderson, "What's in a Flicker Film?" 32.