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    Archived pages: 13 . Archive date: 2013-11.

  • Title: Fischinger Archive
    Descriptive info: .. Fischinger Archive..  .. The Fischinger Trust.. Oskar Fischinger, 1900-1967.. Long Beach California, USA.. Tel 562-496-1449.. Contact:.. and ofischingerinfo (at) gmail.. com.. This is the official website, and a clearinghouse for information and sources.. for Oskar Fischinger's films, paintings and other work.. This site also contains Biographies,.. Filmography.. , Bibliography, Articles, Links and Research Resources.. Left, original goache from the film Squares, 1934.. Center, still from Radio Dynamics, 1942.. Right, One Line, 1949 oil.. News.. New Fischinger book!.. Oskar Fischinger: Experiments in Cinematic Abstraction.. (December, 2012).. Edited by Cindy Keefer and Jaap Guildemond, distributed by.. Thames Hudson.. worldwide.. Available now in UK Europe; advance copies in North America through Center for Visual Music, Los Angeles.. Cover images from the film Kreise.. Installation view at Whitney Museum, (c) Center for Visual Music, 2012.. Raumlichtkunst.. , a new three-screen HD installation,.. is a reconstruction, with newly restored film elements, of Fischinger's 1920s mutliple projector cinema performances.. was produced and curated by the Center for Visual Music, Los Angeles, and is an Edition of five.. Listed in Artforum's Best of 2012 lists.. The New York Times declared, "Dazzling.. an exhilarating phantasmagoria of abstraction and metaphor.. ".. (Ken Johnson, 2012).. Recently on view:.. Tate Modern.. , London, 5th Floor Collection Displays.. June 1, 2012 through March 2013.. Part of exhibition of abstraction from Tate's Collections.. Whitney Museum.. ,.. New York.. Oskar Fischinger: Space Light Art, A Film Environment.. June through October 2012.. Other museum installations pending as of April 2013.. More information, articles, press, installation photos of.. Raumlichtkunst.. The first.. DVD.. in a series,.. Oskar Fischinger: Ten Films.. 2006 release.. We are working on the second DVD now.. You can help.. support the preservation and digitization.. of Fischinger's films, necessary for the second and future DVDs.. Please made a tax-deductible donation at.. this site here.. Order.. the DVD through.. Center for Visual Music.. (CVM) in Los Angeles.. If you are ordering for a school, university, library or institution please use the.. Institutional Order.. Form.. Please note, this DVD may not be used for public performances or public exhibition.. "If you love animation, or modern art, or computer graphics, consider it a must" - Leonard Maltin.. Contains.. ten of Fischinger's classic Visual Music films.. -.. Allegretto, Motion Painting No.. 1, Radio Dynamics, Spiritual Constructions, Study nr.. 6, Study nr.. 7, Kreise, Spirals, Wax Experiments, Walking from Munich to Berlin.. , plus many.. Special Features.. : home movies from Fischinger's Berlin Studio c.. 1931, never-released early animation tests and fragments, a selection of paintings by Fischinger, a selection of biographical photos, film notes by Fischinger and others, and a biography.. Produced by Center for Visual Music in association with Fischinger Archive and Jack Rutberg Fine Arts.. In the US,.. the DVD can also be purchased at CVM's Los Angeles office, and at selected museum bookshops such as the Whitney Museum, New York.. In Europe, in.. Lon.. d.. on.. (BFI Southbank Filmshop),.. Paris.. (HEEZA), and through Walter Koenig in Germany, and sometimes Image Movement in Berlin.. In.. Japan.. , through Meditations.. If you are intereste.. in helping by contributing financially to the preservation and digitization of Oskar Fischinger's films or the next DVD, please contact us at ofischingerinfo (at) gmail.. com or.. contribute here.. Grants cannot save all the films in need of restoration, other sources of funding are needed.. still from Kreise, 1933-34.. Films:.. Access and Distribution.. Rentals, 16mm:.. US.. :.. Canyon Cinema.. , San Francisco - films@canyoncinema.. com, phone/fax: 415-626-2255.. Europe.. Light Cone.. , Paris.. lightcone@lightcone.. org, +33 (0)1 46 59 01 53.. (also a few 35mm prints).. still from Allegretto, 1936-43.. A Retrospective Tribute.. of Oskar's films:.. Oskar Fischinger: Optical Poetry.. , featuring 35mm restored prints of.. Allegretto, Radio Dynamics, Kreise.. ,.. Motion Painting No.. 1, Study nr.. 5, 6 and 7.. American March,.. and other films is available for rental from Center for Visual Music, to venues capable of archival projection standards.. There are 2 programs available, the first of popular classic Visual Music films, and a second program of Rarely-Seen works.. Please contact CVM at least 30 days in advance of playdate.. Contact.. cvmaccess (at) gmail (dot) com.. The Retrospective contains many new preserved prints, preserved by Center for Visual Music, the Academy Film Archive, The Fischinger Trust and others.. Very occasionally CVM rents individual 35mm prints to qualified institutions.. A few 35mm prints are also available for rental through Light Cone, Paris.. Radio Dynamics by Oskar Fischinger screens at "Visual Music" at MOCA Los Angeles, 2005.. Contact Center for Visual Music (cvmaccess at gmail.. com) for other.. Rentals, Licensing, Museum Exhibition Requests and Special Permissions.. CVM handles licensing worldwide.. Museum exhibition requests from digital copies are considered under.. very specific.. appropriate conditions, though we encourage showing the films on film whenever possible (for single evening screenings, for example).. cvmaccess (at) gmail.. with.. full.. etails of your request for digital display in a museum exhibition.. We do not grant public performance rights or screening permission.. for the Fischinger Ten Films DVD.. Certain films may be licensed for digital exhibition under.. very.. specific.. conditions.. Please provide.. complete details.. of your exhibition including dates, description of the museum/gallery space planned for exhibiting films or digital media (what else will be in this space? black or white walls? lighting levels? etc.. ); type of projection and screen, display via projector or monitor; standard or high definition?; plans for avoiding light and sound leaks; other planned films in the exhibition; list of venues and dates, licensing fee budgeted, and type of format/files you can display, or request.. We cannot process requests without all of the above information.. Please note that many requests are declined due to insufficient information, unacceptable spaces, or lack of preparation time or budget.. For individual screening programs, such as single night screenings, the work should be screened on film.. Requests.. to screen the films with new music or live scores - we do not give permission to screen Oskar's visual music (sound) films with new music.. Requests may be considered for only a few of the silent films (not.. Radio Dynamics.. ), please provide full information.. Due to past problems, we do not license excerpts of the films for use in music videos.. ONLINE examples of selected films including.. Studie nr 5.. Studie nr 8.. Kreise.. Wax Experiments.. , the.. Lumigraph film.. and others are at CVM's.. vimeo channel.. These are the only authorized clips online.. Paintings.. Fischinger created over 800 paintings in his lifetime.. Many are in major museums and collections worldwide, including Los Angeles County Museum of Art, Smithsonian American Art Museum, Solomon Guggenheim Museum New York, Norton Simon Museum, Pasadena CA; and Yale University's Art Gallery.. The Fischinger Trust's exclusive painting dealer for the paintings owned by us is.. Peyton-Wright Gallery.. Santa Fe, New Mexico.. Center image above, Koda/Triple Study, 1942 oil.. Contact the Fischinger Trust.. for other matters regarding the paintings and drawings of Oskar Fischinger: info (at) oskarfischinger (dot) org.. Photographs and Images.. Please direct requests for image reproduction permission, and other image permission requests to.. ofischingerinfo (at) gmail.. or cvmaccess (at) gmail.. com - please provide full and specific details regarding the publication and requested use (print only, ebook, online, etc; circulation or print run, editor of book if applicable, publication date, etc.. ).. If you are seeking reproduction permission for images to accompany an article, please email text of the article as well.. Requests generally require 2 weeks processing time or payment of a rush fee.. And yes, you do need to clear permission before publishing a photograph of Fischinger, a still from his films or an image of his paintings.. Movement diagram for the film Kreise (1933-34).. Papers, Research Material.. The Fischinger Trust is currently not open to the public.. Most of the original papers of Oskar and Elfriede Fischinger.. have been donated to the.. Center for Visual Music.. Selected reference material (including William Moritz's Fischinger research collection) is available to scholars by appointment through.. (CVM), Los Angeles.. Online, see CVM's.. Fischinger research pages.. which include.. Film Notes.. by Fischinger and others, an extensive Biography, examples of process materials and animation drawings, plus a.. Bibliography.. and many other resources.. Selected articles are online (below, this page), and many additional articles are online through Center for Visual Music's authorized.. Research pages.. Some materials, including an original Lumigraph, Motion Painting panels, a few paintings, some animation drawings from.. , and some papers (German language, some selections from Oskar's early business papers) are at the.. Deutsches Filmmuseum.. in Frankfurt, Germany.. However the bulk of his papers  ...   in Blue, Motion Painting, Study no.. 7.. www.. filmlinc.. View the.. Press Release.. Read the.. Village Voice.. review.. Radio Dynamics screened Nov.. 9 in.. UCLA Film Television Archive.. 's series The Most Typical Avant-Garde (introduced by David James, celebrating the release of his book of that title).. Oskar Fischinger: Motion Paintings.. Exhibition of Fischinger's paintings.. at.. Goethe-Institut.. , Washington DC, Sept.. 8 - Oct.. 26, 2005.. Accompanying film screening:.. at Goethe, September 19.. Fischinger in Visual Music exhibition press:.. Artforum.. magazine,.. October 2005.. and also Summer issue 2005.. ;.. Washington Post.. , July 1, 2005, Los Angeles Times,.. Los Angeles Weekly.. , Modern Painters (UK) September 2005, Wall Street Journal.. exhibition at.. MOCA.. Los Angeles (Feb - May 2005) and The.. Hirshhorn Museum.. , Washington, DC (June 23 - September 11, 2005), included 5 Fischinger films plus animation drawings and.. Experiments ephemera.. More about the films in the exhibition (.. Allegretto, Radio.. Dynamics, Study nr.. 7,.. Lumigraph.. film.. excerpt and.. excerpt) can also be found at CVM's.. Visual Music films.. page.. The exhibition catalog features many images and pages on Fischinger, and is available through amazon.. Fischinger films were also screened (on film) in Center for Visual Music's.. film screenings.. accompanying the exhibition.. Motion Paintings.. Exhibition of Fischinger's paintings, March 11-May 30, 2005 at.. Jack Rutberg.. Fine Arts gallery in Hollywood, CA.. Press release.. Portfolio of paintings in show.. Sons et Lumiere.. Centre Pompidou.. , Paris (Sept 2004-Jan 2005), included Fischinger's.. Ornament Sound.. Studie 8.. films,.. plus numerous Kreise animation drawings, Ornament Sound drawn sound strips and documentation, and several of his Fantasia-era sketches.. The exhibition included work by Oskar's influences and contemporaries including Kandinsky, Klee, Pfenninger, John Cage, Schoenberg, Richter and many others.. The exhibition catalog features a number of pages on Fischinger.. CVM has an online gallery of some of Oskar's.. animation drawings.. Dr.. William Moritz.. 's long awaited biography.. was published in April 2004 by.. It is distributed in the US by Indiana University Press, and available on amazon.. In honor of the book release, events and screenings of Fischinger films were held in Los Angeles on March 14 (.. Filmforum.. ) and March 17 (Cal Arts), and Pacific Film Archive, Berkeley on April 13, 2004.. Bill Moritz and Elfriede Fischinger.. We are deeply saddened at the passing of our dear friend.. Bill Moritz.. , on March 12, 2004, in California.. His passing leaves a great void in the film world and in our hearts.. December 2003: The.. of 35mm films screens at Goethe-Institut London, and several venues in Scotland.. Oskar's 3-D Film tests screened at the.. World 3-D Film Expo.. at The Egyptian Theatre in Hollywood, CA, in Sept 2003.. Beautiful new 35mm prints were produced for the festival, thanks to SabuCat Productions, Center for Visual Music and Triage Motion Picture Services, Hollywood.. The Fischinger Archive expresses its sincere condolences on the passing of our friend.. Jules Engel.. in September 2003.. Jules and Oskar met at Disney in 1939 where they became immediate friends, sharing and supporting each other's painting.. We.. will miss this great talent and good friend.. Request for Information.. If you own a Fischinger painting, drawing, or cel, we would appreciate hearing from you.. We are maintaining a catalog raisonne and documenting all of the paintings, and appreciate receiving information.. We are also interested in documents, papers, letters and information regarding Oskar Fischinger, particularly correspondence from Oskar.. info (at) oskarfischinger.. org and ofischingerinfo (at) gmail.. com.. Presently we are looking for a company which still makes.. paper.. flipbooks.. We are also seeking to rent time on a.. 35mm Oxberry animation stand.. on the US west coast, to shoot some animation drawings on 35mm film.. Please contact us if you have one for rent, or know of a company, at ofischingerinfo (at) gmail.. Articles/Essays.. Canemaker, John.. The Original Laureate of an Abstract Poetry.. New York Times.. July 2, 2000.. (update to this article: The Fischinger Archive no longer has any affiliation with Iota).. --.. Elfriede! On the Road with Mrs.. Oskar Fischinger.. , Funnyworld, No.. 18, 1978.. Fischinger, Elfriede.. Writing Light.. , 1984.. Fischinger, Oskar.. The Problem of Color and Sound in Film.. 1930.. Sounding Ornaments.. 1932.. My Statements are in My Work.. Art in Cinema catalog, San Francisco, 1947.. True Creation.. , 1949.. A Statement About Painting.. , 1951, for exhibition at Frank Perls Gallery, Los Angeles.. Janiak, Larry and Dave Daruszka.. An Interview with Elfriede Fischinger.. Zoetrope.. 1979.. Keefer, Cindy.. A Lifetime in Animation: The Glamorous Bill Moritz.. , Animation World Magazine, June 2003.. --.. Space Light Art - Early Abstract Cinema and Multimedia, 1900-1959.. White Noise.. exhibition catalog, ACMI Melbourne, 2005.. --"'.. Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments.. Leonardo Electronic Almanac.. , Creative Data Special Issue, Vol 16, no 6-7.. MIT Press/The International Society for the Arts, Sciences and Technology, October 2009.. (PDF).. Langlois, Philippe.. Oskar Fischinger.. Leonardo, Feb 2001.. Leslie, Dr.. Esther.. Tate ETC.. , Tate Museums, UK, Summer 2006.. Moritz, Dr.. William.. Oskar Fischinger: Artist of the Century.. Animac.. Magazine, 2001(Lleida, Spain).. In Passing.. Elfriede Fischinger.. Animation World.. Magazine.. , June 1999.. The Dream of Color Music, and Machines That Made it Possible.. , Animation World Magazine online, Issue 2.. 1, 1997.. Gasparcolor: Perfect Hues for Animation.. Presentation at the Louvre, Paris, 1995.. -- Oskar Fischinger: Leben und Werk, in.. Optische Poesie.. , (Frankfurt: Deutsches Filmmuseum, 1993).. The Private World of Oskar Fischinger.. Liner notes, "The World of Oskar Fischinger" laserdisc, LaserDisc Corporation, Tokyo, 1988.. -- Abstract Film and Color Music, in.. The Spiritual in Art: Abstract Painting 1890-1985.. (LACMA exhibition catalog), 1986.. Towards a Visual Music,.. Cantrills Filmnotes.. , Sydney, August 1985.. You Can't Get Then From Now,.. Part I: Oskar Fischinger, in Journal: Southern California Art Magazine, No.. 29, 1981.. "Non-Objective Film: The Second Generation.. " In Film as Film: Formal Experiment in Film, 1910-1975, Hayward Gallery/Arts Council of Great Britain, 1979.. Fischinger excerpt.. from article.. -- The Films of Oskar Fischinger,.. Film Culture.. No.. 58-60, 1974.. Morris, Gary.. Oskar Fischinger's Visual Music.. Bright Lights Film Journal, Sept 1998.. Tobias, James.. Sync: Stylistics of Hieroglyphic Time.. Temple University Press, 2010.. See Chapter 3: For Love of Music: Oskar Fischinger's Modal, Musical Diagram.. Willis, Holly.. Short Form: Classic Avant-Garde 'Toons Get Reanimated.. on IFILM.. For an extensive bibliography please see CVM's.. at their Fischinger research site.. Elfriede Fischinger, c.. Assorted Links.. Dreams of Abstract Mass Media.. , by Scott Sona Snibbe, July 2010.. Oskar's.. Oklahoma Gas ad.. on CVM's.. Vimeo.. channel, plus a clip from one of Elfriede's.. performances.. Wavelengths.. by Ed Halter, in Village Voice, New York, December 2005.. Oskar Fischinger, Fast on the Draw.. Review of Painting Exhibition, Washington Post, Sept.. 15, 2005.. Cartoon.. in Montreal Mirror, June 2005.. Review.. of Moritz's book Optical Poetry.. by Robin Allan.. AWN, 2004.. on MichaelBarrier.. The Missing Link: Oskar Fischinger Between European Avant-Garde and New American Cinema.. , March 2002 by Walter Schobert, at Edinburgh, Scotland Conference Avant-Garde.. Art in America Review.. , Oskar Fischinger at Jack Rutberg, June 2001 by Michael Duncan.. Review of Painting Exhibition.. at Jack Rutberg Fine Arts, Los Angeles, 2000 by Ray Zone.. at Jack Rutberg Fine Arts, by Mario Cutajar.. Artscene: Oskar Fischinger.. by Mario Cutajar.. Milestones of the Animation Industry in the 20th Century.. , 2000, by Karl Cohen, in Animation World Magazine.. Cross-Influence in Abstract German Animation of the Silent Era.. , 2000.. Motion Painting selected for The National Film Registry, Library of Congress, 1997.. Oskar Fischinger: A Retrospective.. Notes on his paintings by Susan Ehrlich, for Tobey Moss Gallery, 1988.. John Cage.. audio interview.. on KPFA, 1987 (discusses how he met Fischinger).. AskArt Listing.. : contains brief bibliography of art books and art periodicals regarding Fischinger.. About Us.. The Fischinger Trust (Elfriede Fischinger Trust) is administered by Oskar's daughters.. Center for Visual Music (CVM) manages the films of Oskar Fischinger.. and his papers are now at CVM as well.. Previously, Elfriede used the term The Fischinger Archive to conduct business.. The Trust and Archive thanks Center for Visual Music, The Whitney Museum, Tate Modern London, Michael Friend, Pacific Film Archive, Sony, John Canemaker, Cinémathèque québécoise, Goethe Institut Los Angeles, Leonard Maltin, Jerry Beck, Joe Kennedy, Cecile Starr, Yann Beauvais, Jean-Paul Georgen, Heike Sperling, Thomas Reynolder, Timothy Finn, Susan Bolles and many others for their support.. All images copyright The Elfriede Fischinger Trust and Oskar Fischinger, 1922-2013.. WARNING.. : Text and images in these pages are protected by copyright law (Title 17 U.. S.. Code).. Please seek permission for reproducing any images or text.. last updated Apr 2013..

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  • Title: Fischinger filmography
    Descriptive info: OSKAR FISCHINGER FILMOGRAPHY.. All of Fischinger's films were originally made in 35mm unless noted.. In Germany:.. [Wax Experiments].. , 1921-1926.. Experiments, not publicly shown by Fischinger as an individual film.. B/w tinted, silent.. Several versions, plus some material still unpreserved unseen.. Online excerpt.. , b/w only, at CVM's vimeo channel.. 2.. Orgelstabe.. [.. Staffs.. ], 1923-27, Experiments, b/w and tinted, several versions.. A later short test (1933) was printed with the Gasparcolor process.. 3.. Stromlinien.. (.. Currents.. ), c.. 1925.. Experiments, b/w tinted, silent.. Fragments.. 4.. Spirals.. ], 1926, b/w, silent.. Experiments, probably not originally shown by Fischinger, except as part of the footage in his.. 1920's multiple projector performances.. 5.. Pierrette (unfinished).. from.. Munchener Bilderbogen.. Series (1924-26) with Louis Seel.. Multiple projector performances, first with Alexander László's.. Farblichtmusik.. concerts, then on his own, a series of.. performances, titled.. Fieber.. Vakuum.. Macht (Power).. , c.. 1926-27; later, possibly.. R-1, Formspiel.. R-1, a Form-Play.. B/W tinted, accompanied by various music.. Two attempts at re-creation and reconstruction exist:.. William Moritz/Fischinger Archive's 35mm Cinemascope recreation of.. R-1 ein Formspiel.. , 1993; made in association with Deutsches Filmmuseum (image above).. Center for Visual Music's 2012 reconstruction of.. , as a 3-screen HD installation,.. more info here.. Seelische Konstruktionen.. Spiritual Constructions.. 1927, b/w, silent.. A later version with sound was assembled by William Moritz/Fischinger Archive, for limited 16mm distribution.. This version also contained 3 short animated fragments at the beginning.. This version is not in distribution as of 2011.. Munchen-Berlin Wanderung.. Walking from Munich to Berlin.. ), 1927, b/w, silent.. Experiment.. Not screened publicly by Fischinger.. 9.. Fiesta.. , 1932 (fragment).. 10.. Studie Nr.. 1929, b/w, silent (originally accompanied by live organ music).. 11.. 1930, b/w, originally accompanied by sound on record.. 12.. , 1930, b/w, originally accompanied by sound on record.. 13.. Studie No.. , 1930, b/w (lost?).. 14.. R.. 5, Ein Spiel in Linien,.. aka.. , 1930, b/w, sound.. Online excerpt.. at CVM's vimeo channel.. 15.. 16.. , 1930-31, b/w, sound.. 17.. , 1931, b/w, sound.. 18.. Supervised by Oskar; drawn by Hans Fischinger.. 19.. Liebesspiel.. ], c.. 1934, b/w, silent.. Named later by Elfriede Fischinger.. 20.. , 1932, b/w, sound.. 21.. 22..  ...   or 'popular' version, 1943, color, sound (made with the support of The Museum of Non-Objective Painting).. 39.. An Optical Poem.. , 1937, color, sound (made for MGM).. 40.. An American March.. , 1941, color, sound (made with the support of The Museum of Non-Objective Painting).. 41.. Organic Fragment.. ], 1941 (not filmed by Oskar).. Reconstruction by Moritz and Barbara Fischinger, 1984, color, silent.. 42.. , 1942, color, silent.. 43.. 1,.. 1947, color, sound (made with the support of The Museum of Non-Objective Painting).. Muntz TV Commercial.. , 1952, b/w, sound.. 45.. Advertising Films, c.. 1945-55 incl.. Oklahoma Gas, Pure Oil (unfinished), and soundtrack for Northern Tissue.. 46.. Stereo Film.. test, 1952, color, silent.. 47.. (fragments), 1957, and c.. 1960.. 16mm, color, silent.. OTHER:.. Numerous unshot animation drawings and Pencil Tests; numerous fragments and tests, particularly from the Frankfurt and Munich years.. Special effects for.. Sinflut.. , 1927.. (some of these fragments and tests can be seen on the Oskar Fischinger: Ten Films DVD.. Some fragments have been restored in 2013, many others remain to be restored and digitized.. Early advertising work and special effects for commercials, industrials, features (Berlin); including special effects for.. Dein Schicksal.. (1928), UFA films, and Fritz Lang's.. Frau im Mond.. (1929).. Animation drawings and designs for.. Fantasia.. , Walt Disney Studio, 1938-1939.. Synthetic Sound experiments.. , 1948 and 1955 (sound only).. Mutoscope Reels.. 1945.. Reconstruction by Dr.. Moritz and Barbara Fischinger, 1984.. Special effects for 5 Star Rocket television program, Los Angeles.. Misc.. home movies, Berlin and Los Angeles, 35mm, 16mm and 8mm, including Bon Voyage Party footage.. Lumigraph (machine) loaned for.. Time Travellers.. feature film (footage not produced by Oskar).. FISCHINGER FAMILY MEMBERS:.. Hans Fischinger:.. Dance of the Colors,.. 1939, color, sound.. Elfriede Fischinger:.. Lumigraph Film.. 1969 (several versions), 16mm, color.. Made with the assistance of Conrad Fischinger (and Moritz?).. Link to.. Lumigraph drawing.. Also see her article,.. (silent) on CVM's vimeo channel.. Return to.. HOME PAGE.. Text and images in these pages are protected by copyright law (Title 17 U.. Filmography (c) Fischinger Trust, 2005-13.. Please seek permission before reproducing; reproducing.. Images copyright Oskar Fischinger and Fischinger Trust, 1921-2013, all rights reserved.. Updated Apr 2013..

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  • Title: Untitled Document
    Descriptive info: A note about inaccuracies online, and a warning to those researching Fischinger.. Multiple errors and misrepresentations are on the website of iotacenter.. This company no longer has the rights to use Fischinger materials.. They no longer have the Fischinger materials in their collection as mentioned and implied on their website and timeline (such as films, paintings, files, animation machine), these were returned to the Fischinger Trust in settlement of the lawsuit filed by iotacenter attempting to claim ownership of multiple Fischinger materials.. The Kinetica programs they mention on their website ended in 2003.. They have not had the rights since 2003 to distribute the Fischinger program which they called Kinetica 2, since The Fischinger  ...   Academy Film Archive in 1998-99 on the preservation of some Fischinger films.. The Fischinger filmography and biography on the iotacenter site are not accurate, the filmography is quite flawed.. Many of their links and entries from the Absolut Panuska project are not accurate,.. especially.. regarding Fischinger and his early projects.. Researchers should not be misled by iotacenter claims that they have substantial Fischinger material.. Their advertised William Moritz Archive is only online; they no longer have all the Moritz materials referred to on their Moritz section.. Moritz's papers and original research collection, including all his Fischinger Research, are the property of Center for Visual Music in Los Angeles.. RETURN to.. Fischinger Trust home page..

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  • Title: Fischinger Biography
    Descriptive info: Oskar Fischinger was born on the summer solstice in 1900 in Gelnhausen, Germany.. Around 1920 in Frankfurt, he met Dr.. Bernhard Diebold at a literary club; seeing Fischinger's abstract scroll sketches, Diebold urged him to take up abstract filmmaking.. Oskar was greatly impressed by Walther Ruttmann's Opus I in 1921, at the first public screening of an abstract film.. Fischinger soon resigned his engineer's job and moved to Munich to become a full-time filmmaker.. By June, 1927 financial difficulties forced Fischinger to leave Munich, so he walked to Berlin where he re-established himself.. In 1928, he worked doing rockets and other special effects for Fritz Lang's Frau Im Mond.. In 1929 he broke his ankle at the UFA studios and while hospitalized, decided that he must devote himself full-time to abstract filmmaking.. He then produced the remarkable series of black-and-white studies tightly synchronized to music.. These Studies screened widely in Europe, Japan and America, and came to be in such demand that by 1932 Fischinger  ...   much critical and popular acclaim that Paramount offered him a contract, and in February 1936 he set sail for Hollywood never to return to Germany.. Fischinger found it extremely difficult to work in studio situations, enduring episodes at Paramount (1936), MGM (1937), and Disney (1938-9).. His frustration at not being able to produce independent film led him to take up oil painting, and he came under the patronage of Hilla Rebay, curator of the Solomon Guggenheim Foundation, who extended several grants to him during the difficult war years.. Unfortunately, they quarreled over the artistic merits of his film Motion Painting No.. 1 (1947) and he never again received adequate financial support to complete another film.. For the last twenty years of his life, Fischinger had to content himself with unfinished projects, with his paintings and with a home light-show instrument, the Lumigraph.. After some years of relative ill health, he died on January 31, 1967.. William Moritz.. Image copyright The Elfriede Fischinger Trust, all rights reserved..

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  • Title: Fischinger Biography, Long V.
    Descriptive info: Oskar Fischinger - Longer Bio.. Oskar Fischinger originally chose music as a career, studying violin and organ building (for mathematical harmonic theory) before 1914.. Too young and unhealthy for war duty, he was forced to learn architectural drafting and tool design.. At the beginning of April 1921, he was thrilled by the first performance of Walther Ruttmann's.. Light-Play Opus No.. 1.. (a color abstract film with a live musical score) and vowed to devote himself to absolute cinema, which could best combine his skills at music and graphic art.. His first films of the early 1920s are among his most radical, perhaps because he felt challenged to create something quite different from the romantic choreography of small figures in the films of Ruttmann or the static development of graphic intricacies in the work of Viking Eggeling.. Fischinger was also influenced by Tibetan Buddhism toward meditative mandala structures.. Fischinger designed visual patterns of extreme complexity which often move in hypnotic cycles, yet he interrupts with radical editing of single frames of contrasting imagery.. Similar virtuosity in editing characterizes.. R-1: A Form-Play.. , a spectacular abstract multiple-projection show (using five film projectors and slides) which he performed between 1925 and 1927.. [1].. Even when viewing the panels as separate films, one is struck by their dynamic vigor and fresh inventiveness.. He helped support himself during this period by making conventional cartoons, which demonstrate his mastery of realistic anatomy, perspective, and conventional story-telling.. But his.. shows the same radical consciousness and experimental techniques as his abstract films: the slender tale of two drunks who argue and stagger home becomes an epic voyage of warping shapes and thwarted perceptions, rendered again with single-frame editing and scratching directly on film frames -- devices that would only re-emerge thirty years later in the films of Stan Brakhage.. During the summer of 1927 he walked from Munich to Berlin, recording his journey in single-frame exposures -- again a premonition of the diary films two generations later.. He was hired to make special effects of rockets, starscapes and planet surfaces for Fritz Lang's 1929 science-fiction feature.. Woman in the Moon.. , and broke his ankle on the set.. In the hospital he began drawing animations on white paper in charcoal, which led to a series of 17.. Studies.. [2].. By this time Ruttmann was no longer making abstract films, so Fischinger felt free to explore the romantic choreography of simple shapes.. In each of the Studies he set himself a different visual problem to solve: in.. Study No.. a flexible aerodynamic movement that resolves into icons suggesting the eye as mandala or the splitting of matter in an Einsteinian relativity; in.. a deep-space perspective of hard-edged figures contrasted with a flat surface where sensuous art-nouveau shapes metamorphose; in.. an orchestral multiplicity and density of figures, etc.. The close synchronization of these.. with  ...   due to studio bookkeeping systems.. He designed the Bach "Tocatta and Fugue" sequence for Disney's.. , but quit without credit because all his designs were simplified and altered to be more representational.. The Guggenheim Foundation required him to synchronize a film with a Sousa march in order to demonstrate loyalty to America.. [4].. , and then insisted that he make a film to Bach's "Brandenburg Concert No.. 3" even though he wanted to make a film without sound in order to affirm the integrity of his non-objective imagery -- and secretly did compose the silent masterpiece.. which breathes slow pulsating rhythms and astonishing single-frame flickers of painterly images.. Frustrated in his filmmaking, Fischinger turned increasingly to oil painting as a creative outlet.. Although the Guggenheim Foundation specifically required a cel animation film, Fischinger made his Bach film as a documentation of the act of painting, taking a single frame each time he made a brush stroke -- and the multi-layered style merely parallels the structure of the Bach music without any tight synchronization.. Although he never again received funding for a film, the breathtaking.. won the Grand Prix at the Brussels International Experimental Film Competition 1949.. Three of Fischinger's films also made the 1984 Olympiad of Animation's list of the world's greatest films.. Fischinger Archive Notes/Footnotes Added:.. Film titles have been italicized.. These dates are questionable for these multiple projection performances.. Research and published work by both Dr.. Jörg Jewanski and.. Cindy Keefer.. place the first performance in 1926; it is also likely they were performed after 1927.. Moritz's count of 17 includes one never-filmed Study (it was drawn although perhaps not completely, but never filmed); it is likely that the number of actual Studies filmed by Oskar is 14, plus one shot but unfinished, for a total of 15.. One more may be added if.. ) is counted as a Study.. This secretly produced statement has been widely misinterpreted.. The making of this film was kept secret from Fischinger's employees as he did not want his techniques publicly known.. Further, according to film scholar Dr.. Ingo Petzke's research, no prize was awarded to this film at the Venice festival.. This claim of a dangerous position caused by the exhibition of.. is subject to debate.. See Petzke's essay TWO OR THREE THINGS I KNOW ABOUT HIM: Myth, legend and lies in film history in which he writes about this film,.. But even then there was not much evidence of any "denigration" of Nazi Germany, except for a comparatively trivial infringement of export rules by a film which had officially had been registered by the German censors on May 10th, 1935 under No.. 392676, and subsequently was fully "legal".. Oskar's anti-Nazi sentiments, statements and actions are more likely the cause of his dangerous position and desire to emigrate.. This film is.. Return to home page:..

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  • Title: Lumigraph sketch
    Descriptive info: Drawing by Oskar Fischinger of his Lumigraph.. WARNING: Text and images in these pages are protected by copyright law (Title 17 U.. Copyright © Elfriede Fischinger Trust 2005.. Back to.. Fischinger Archive.. home page..

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  • Title: Elfriede! On the Road...
    Descriptive info: Elfriede!.. On the Road with Mrs.. by John Canemaker.. January 13, 1977.. Elfriede settled down in the back seat of the taxi that was hurtling through the late-afternoon Manhattan traffic.. The sun was winter-bright and unusually warm and so she unbuttoned an outercoat made of what looked like blond yak curls, revealing her beloved traveling pants-suit of purple corduroy.. Even with our crazed Israeli cabdriver attempting to leap over the cars on the Triborough Bridge, the trip to Kennedy Airport would take almost half an hour, cutting dangerously close to Elfriede's scheduled departure time for Hollywood and home.. But, surrounded by several large canvas bags of heavy film cans and reels, and portfolios of dozens of valuable drawings and paintings - all created by her late husband, Oskar Fischinger - Elfriede sat there, relaxed, grinning like a jolly Teutonic Buddha and with characteristic ebullience talking a mile a minute in a German accent as tasty as sauerbraten.. "Oh, Chawn! I'm tso gladt you could come oudt to Kenned-tee wit mee.. I have been pushzing this ball und itz sznow-balling.. Budt, itz sznowballing because Oskar's work is Oskar's work - it is goodt! And what is goodt, after all, stays.. ".. The great and good artistic legacy of.. Oskar Fischinger, fiercely independent champion of the absolute film of abstract experimentation, might not have reached as many young people, or it might have built its new audience much more slowly in a less dynamic way - it would not have "snowballed" - were it not for the passionate promotion of the work by Fischinger's 66-year-old widow, Elfriede.. She was in New York this one particular day lining up 1977 lecture/screening dates for what would prove to be a banner year in the public's awareness of Oskar Fischinger and his art.. The day before, I had picked her up at Kennedy after a mutual friend phoned and read to me a terse nightletter from Elfriede in Europe: "Please advise John Canemaker of my arrival.. "I think she wants you to meet her plane," said the friend.. Part of Elfriede's considerable charm is her aggressive belief that people, even casual acquaintances (as I was at that time) will provide help when she needs it - and she is not afraid to ask for it by direct.. or indirect means.. She.. needed.. help.. Her baggage was, as always, considerable.. Film cans, portfolios of press clippings, photos, and artwork,.. as well as her personal luggage, were her only traveling companions to the "Second Festival International Du Film Abstract," held December 2-5, 1976, in Montpellier, France.. She attended a special tribute to Oskar Fischinger and while there she managed to book her.. husband's films into the Melkweg Cinema in Amsterdam on January 7-9.. "Tzey went wild over Oskar," she reported jubilantly, as she dove into the bags to pull out posters and program brochures.. Another triumph, but Elfriede being Elfriede, it was not without problems.. Bad luck always seemed to run parallel with the good in Oskar's life and the same goes for his widow.. On this European trip Elfriede's purse was stolen in Amsterdam; in the purse were gold medals awarded at Montpellier and original negatives of stills of Oskar at the Disney studio in 1939.. Irreplaceable and now gone.. She also tripped, fell, and chipped her front tooth.. in France.. "I can never szmile again,".. she giggled, grinning ear-to-ear and pushing her chubby cheeks into crinkled masses that pressed her impish eyes into.. slits, making her face look like the theatrical mask of comedy.. "Well is as well is," she waxed philosophically about the yin and yang of her colorful life.. "Life goes on satisfactorily, when you are content to accept it and hail every day that is given to you.. Elfriede's formidable energy is of the happy variety.. at the moment; depending on circumstances, however, she can channel that energy immediately into one of several different directions.. Jealousy, suspicion, fear or despair, among other feelings, can come pouring forth in Wagnerian proportions as absolute and uncompromising as her late husband's films.. Her anger is especially striking, particularly when she is defending a point about Oskar and/or his work.. Elfriede loves a good fight! As with all of her chameleon-like changes of temperament, her anger is a.. pure.. distillation of emotion - an angry defense worthy of the valkyrie who carried slain heroes to Valhalla.. Since Oskar Fischinger's death in 1967, Mrs.. Fischinger has collected, catalogued and preserved material related to Oskar's work in film and painting.. In 1970, she met filmmaker/poet/critic William Moritz, who has been of enormous help with the material, which includes over 200 cans of film and hundreds of letters and notes, as well as still photographs and press clippings, most of the drawings and cels for his animated abstract films, nearly 700 oil and pastel paintings, and various inventions and camera and film apparatus.. It is a Herculean task that continues at the "Fischinger Archives," which is what she calls her house in the Hollywood hills.. ("You should come out and see the Archives, Chawn.. Der is so-o-o much!") When she is not picking through the chronicles of Oskar, Elfriede picks and chooses which film festivals, universities, or museums will screen a Fischinger retrospective.. She selects the best offer in terms of showcasing Oskar's work and in terms of financial arrangements; for, sadly, Oskar's legacy did not include financial support for his widow and five children.. The last 15 years of the artist's life were marked by sporadic film and painting commissions and deteriorating health, with the attendant doctor and hospital bills.. Elfriede, in a letter to me, once compared Oskar with one of his peers: "How much money and/or glory must have meant to him and how little it always meant to Oskar.. (Much too little, sorry to say.. )".. She always charges a fee for screening the films, she told me recently, because she believes "institutions are there for.. artists, artists are not there for institutions!" In 1972, when La Cinematheque Francaise in Paris extended an invitation to Mrs.. Fischinger-and-films, she was warned not to ask the institute's founder Henri Langlois for a fee.. "Then he will not have Oskar Fischinger.. I'm not making any exceptions," was her reply.. A private meeting was arranged between Elfriede and the stout Langlois was hastily arranged.. Langlois' greeting to her was "Madame Fischinger, business.. c'est la guerre?.. ".. "Yep," Elfriede smiled.. "Business.. c'est la guerre!.. "How much do you want?".. "Fifty dollars.. And you can give it to me in any currency or you can pay my hotel bill.. I don't care.. Langlois pulled five ten-dollar bills out of his pocket, gave them to Elfriede and said, "Please don't tell anybody I paid for your show.. Another source of income is generated by the sales and rental of over 30 Fischinger films which can be obtained through Elfriede herself or through distributors such as Pyramid Films, Creative Film Society, and the Museum of Modern Art.. She also put together a small "film-flip booklet" made from copies of 72 drawings, or six seconds, from Oskar's.. Mutoscope Reel #1.. (1945).. The booklet of starbursts and swirling comets sells for a couple of dollars wherever Elfriede appears.. It helps, as the lecture, film sales and rentals have helped her to get by in the last 10 years.. ("People should know it is difficult to live and save films with no money.. I have never gotten a grant from the A.. F.. I.. or anybody else, to do this work.. ").. The taxi was now inching through homeward-bound rush-hour traffic on the Grand Central Parkway, past dreary row houses near Flushing Meadow Park, site of the 1964 New York World's Fair.. To pass the time, I asked Elfriede about her background, where she comes from and how she met Oskar.. She seemed genuinely surprised that I would want to know such things.. Usually people want to know just about Oskar.. "I was born in Gelnhausen, near Frankfurt," she began slowly.. "In the same house as Oskar.. In the same bedroom, but not in the same furniture because Oskar was born there 10 years earlier, in 1900.. Elfriede and Oskar, it turns out, were first cousins: her father and his father were the brothers Fischinger and both men worked as pharmacists.. "Oskar remembered me as a baby," said Elfriede, "but I only have a recollection of him when he was 19.. He wrote a very idealistic poem in my school album and I still have it.. By 1919 Oskar had been educated with a scientific-technical training.. He loved music and had worked as an organ-builder's apprentice.. After World War I he became an architectural draftsman and.. then an engineer in a turbine factory.. In 1920, Oskar attended a literary club in Frankfurt and met Dr.. Bernhard Diebold, who was impressed with Fischinger's abstract drawings of the emotional dynamics of Shakespeare's dramas and encouraged the young man to experiment with abstract filmmaking.. Fischinger's films, even his experiments, were extraordinary from the first.. He tested abstract cut-outs moving in rhythmic patterns and he tried animating representational figures evolving into fantastic shapes lit from below the animation stand; his earliest experimental films were "wax experiments" created on a wax-slicing machine of his.. invention which allowed successive slices of a block of mixed multi-colored wax to be photographed frame-by-frame.. In August 1922 Fischinger moved to Munich and full-time filmmaking.. In order to finance his personal films, he produced with partners several representational cartoons as well as multiple-projection light shows.. Financial.. and personal troubles forced Fischinger to leave Munich; in June 1927 he walked.. to Berlin carrying his heavy 35mm camera and taking single-frame shots of the German countryside and its farmers, and shepherds along the way.. He had trouble finding work at first in Berlin but eventually, in July 1928, he went to work on Fritz Lang's science fiction feature,.. Frau im Mond.. , creating special effects animation and rocket models.. Over the next three years Fischinger produced a brilliant series of black and white.. - abstract animation tightly synchronized to jazz and classical music - which played throughout Europe, Japan and America.. These short films were extremely successful and made Oskar famous and a filmmaker in demand.. Meanwhile, back in Gelnhausen, Elfriede attended a lyceum, studied the lute and the piano, learned to read and speak English, and attended two and a half years of art school.. Some of her art work was published and exhibited in Berlin, and a group of art students was invited to the exhibition.. "My father gave me a letter and said I should visit this cousin in Berlin," Elfriede recalled.. "We already knew Oskar had worked on the Fritz Lang film, but I should see what he was making, what his studio was like because he didn't answer anybody's letters and I should report back and tell his mother what he was doing.. So that was how I came to see the "Wizard of Friederichstrasse" as he was becoming known in the Berlin film industry.. If my father had known.. what would happen.. , he would never have given me that letter, that's for su-r-r-rre," she laughs.. "Things" happened, as things sometimes do between dewy-eyed, volatile 19-year-old art students and dynamic, volatile 29-year old wizards.. "Within four days, I decided my whole life.. I couldn't think Oskar out of my life.. Even so after four days I had to go back.. They all noticed.. They couldn't understand that I liked Berlin so much that I would shed tears over it.. Elfriede corresponded with Oskar through letters he sent to one of her school chums.. After some months Oskar phoned Elfriede's father and asked if she could come to work at his studio in Berlin as the demand for the.. was such that he needed a small staff to help prepare them.. Permission was granted by Elfriede's unsuspecting parents and the lovers were reunited.. "Today nobody minds anymore.. But, in those days it was outrageous! I think we lived together almost three years and I became pregnant.. " When their parents found out what had been going on, Elfriede remembered, "That's when the ceiling came down!".. Elfriede consulted a geneticist who told her that marriage between first cousins meant risking the health of their future children.. But it was discovered that the odds were in their favor because no chronic diseases could be found in the family genealogy.. Oskar and Elfriede were married in a civil ceremony on November 30, 1932, and, for their parents, in a church ceremony in late January the next year.. (All of their five children were subsequently born healthy and normal.. For the little girl from Gelnhausen it was quite an adjustment learning to live with the mercurial Oskar; his reputation was steadily growing, and eventually he would be thought of as one of the major figures in the great European avant garde of the 1920's and early '30s.. At times he genuinely enjoyed the domestic joys of.. frau, kind.. heim.. ; but it was also true that for the most part, for Oskar Fischinger there was his work, which came first and foremost, and then there was everything - and everybody - else.. "There were days when he locked himself in.. That usually was weekends when I pestered him.. I maybe wanted to go to a lake swimming or to do this or that - you know how wives are! He would lock himself in.. I could do anything but.. I knew after two or three tries it was absolutely of no avail.. So I occupied myself or went by myself, and later with the children, and let Oskar work.. He kept that pattern up all throughout his life, even in Hollywood.. Sundays he was perfectly happy when we would all go away and leave him alone.. Oskar's regimen was once described by William Moritz as demonstrating a "profound mysticism":.. He lived constantly by some sort of astrological principles - working and abstaining according to moon cycles and other portents.. For certain periods he stayed awake only at nights, sitting on hilltops in meditation contemplating the moon.. He locked himself away.. for hours to practice yoga.. He moved his bed around periodically to compensate for magnetic currents earth, and to realign his own energy flow in various relationships with it.. He may have been somewhat psychic.. he believed in the validity of his visions.. he studied Ms.. Blavatsky's theosophy and Rudolf Steiner's anthroposophy and Yogananda's vendanta.. Because of several tragic experiences with friendly rivals and collaborators.. Fischinger developed an almost paranoid suspicion of other artists.. he rarely went to other artists' shows.. he seems to have been relatively blind to the possible merits work different from his own.. He was relatively shy and reserved in his personal relationships, but he could also be a brilliant and witty conversationalist among friends.. he seems to have behaved radically differently to various people and to the same people at different times.. No, life with Oskar "was not easy" even.. from the beginning.. Elfriede looked out the taxi's.. window.. "Anybody who is a creative genius, I believe, you cannot tie them down to hours.. I kept hours, I got up regularly, but Oskar would some-times work into the night, all night long and you just had to let him sleep.. And sometimes he would be way ahead of the girls who filled in the charcoal on the drawings.. Elfriede also worked filling in the dark surfaces on the animation drawings used in the.. and she supervised the work.. of three young women and Oskar's brother, Hans.. "When I came to stay I started.. to organize and clean the studio.. Berlin Friederichstrasse was all old buildings, infested with bedbugs and stuff.. We were on the fourth floor so there was.. a lot there.. I painted and lacquered the wooden floor.. I really worked hard because I'm a Virgo.. I had to have it just to my liking.. I painted the whole studio in soft lilac and yellow hues.. Very beautiful.. I also switched the filling in of the drawings from charcoal to watercolors because my knuckles got raw from the charcoal dust.. "Sometimes Oskar would get behind and there wouldn't be enough work in the morning for the girls and this was a problem for me.. I had to keep them busy, so I would push Oskar, 'Would you please? ' Sometimes he 'Please wouldn't, period!'".. It seems to have been a marriage between a determinedly domestic.. hausfrau.. and an intuitive mystic, a match not exactly made in.. Himmel.. Well, Elfriede loved Oskar and that, to her, was that.. She would support him in his work during his best-of-times in Berlin and during the worst-of-times that came soon enough in America.. Tenacious and doughty, Elfriede would adjust to Oskar's artistic temperament.. she would make for him a home and a family, too.. With money coming in from screenings of the.. , Fischinger began experimenting with drawn synthetic sound, and he collaborated with Bela Gaspar on a three-color film and camera.. His first color film using this process (named Gasparcolor) was.. (Circles), completed in December, 1933; this film and his two subsequent color films,.. Muratti Marches On.. (1934) and.. (1935) won Fischinger extravagant popular and critical acclaim.. Elfriede participated in the making of each of these films; she painted tempura colors (and helped choose hues) on the 1,000-plus animation drawings in.. ; on the advertising film for Muratti, which featured platoons of marching cigarettes, she inserted straight pins into wooden cigarettes that were stuck into a turntable of kaolin-wax and loose, dyed sawdust and were moved frame-by-frame by Oskar; on.. , another three-dimensional pixillation film, Elfriede again assisted Oskar and she declared, "It was our real baby together - we worked both on that.. Oskar's inventiveness, together with mine - we did a lot!".. won major prizes at Brussels and Venice in 1935, attracting world-wide attention.. One day Elfriede took a phone call from Paris.. "It was the Paramount Studio branch.. They asked if Oskar was.. the.. Fischinger who made the cigarette film and.. Oskar then got other phone calls from the Berlin Paramount people.. "And then, there was New Year's evening when we were home.. And his voice came out of the bathroom, he was sitting in the bathtub.. I was busy in the kitchen, we had the doors open.. And he said, 'Elfriede, you want to go to Hollywood?' I said, 'Oskar, what kind of joke  ...   weaponless gypsy sentries.. Outside my apartment house Joe, Elfriede, Bill and I formed a combination assembly-line/relay-race to empty the camper parked in front of the building and to drag its contents into the lobby, up in the elevator, down a hallway and finally into my apartment, which was fated to be in disarray for the next two weeks.. Elfriede would occupy a convertible sofa in the living room and Bill settled on a small cot in my studio.. At our meeting at CBS later that morning, John Musilli unveiled a blueprint of "The Fischinger Set.. " The area where our taped interviews would take place consisted of an interlocking platform and half a cyclorama painted in the primary hues and circular design of Oskar's.. Delighted by the classy treatment.. was giving the show, Elfriede asked for the blueprint "to add to the Archives.. "I had a feeling you might want it for that," smiled John as he handed it over.. Elfriede insisted on certain things being written into her contract, money things and receiving a cassette tape of the entire show "for the Archives.. " A running gag at the taping would be that anything that wasn't tied down on the set would end up in the Fischinger Archives.. The screening of the color films that evening went well; there were a few more people attending besides the Fischinger loyalists.. After the show, over burgers and beer at the Broome Street Bar, Elfriede and Bill complained about the parking situation in New York (they now had five tickets!) and then they began to pick up on an old argument about illustrated sound and whether it is important that Oskar was or was not the first to create synthetic soundtracks.. Bill said being first was not important and Elfriede disagreed loudly.. The tensions of traveling together for such a long period and working so closely with each other were beginning to surface between Bill and Elfriede.. They know each other's sensitive areas well and this tour, with its constant pressures for preparation and performance, had brought their strengths, weaknesses and vulnerabilities into sharp relief.. Oskar Fischinger harbored a silent resentment against certain filmmakers who he felt duplicated or laid claim to his ideas and film techniques.. Bill knows these angry feelings have been transferred to Fischinger's widow through osmosis and to drop certain names into a conversation can provoke a violent reaction from her.. Names such as Stokowski, Bute, Richter and Alexeieff, among others, can bring forth from Elfriede wails of "They done him wrong!" Bill knows this and sometimes uses the names to play her like a volcanic calliope.. Elfriede, on the other hand, is extremely jealous of sharing Bill's time with anyone not having a direct interest in or connection with Oskar's work.. "Bill Moritz is perfect," she once told me, recalling her thoughts at their first meetings.. "He is a filmmaker, a scholar, he can write beautifully, he can speak and read German, and he loves Oskar's work.. He is perfect to help me with my Archives.. " In some ways, small ways, Bill.. reminds.. her of Oskar, temperamentally and physically, an opinion, Bill claims, that is shared by several people who knew Oskar.. "It's very strange," he said, "but other people besides Elfriede have remarked that there is some aura of Oskar about me.. Somehow this provokes possessive feelings in Elfriede.. Several times during their stay, Bill dropped us off at my apartment, went to park the camper and did not return until the next morning, sometimes an hour before their appointments.. Elfriede who "worried all night," would be fit to be tied.. She runs a tight ship.. "I do not mind Bill's freedom," she exclaimed, "when we are home in L.. , but not when we are on tour!" Bill's laid-back "everything's o.. k.. " (to quote from one of his poems) attitude complements Elfriede's apprehension of missed appointments and screwed-up schedules, an often overanxious imagining of impending disaster that can wind her up tighter than an Austrian cuckoo clock.. Upon Bill's early morning return, Elfriede's anger would manifest itself in a furious pattering around the living room, gathering up films and other material necessary for the appointment, muttering all the while to herself and to Bill about how unfair it is that the total responsibility for these things should fall onto her shoulders and not be shared by Bill.. Moritz knew enough not to argue the point at the moment and he gamely assisted her in her search through piles of material.. If Bill doesn't challenge her anger, it most often winds down.. But sometimes it has to be physically worked off.. One morning, after a tense scene upstairs, I accompanied them down in the elevator and watched as they walked stiffly toward the camper parked a couple of blocks away.. A few minutes later, as I waited for the mailman, I noticed Bill and Elfriede walking at a fast clip back toward me.. Elfriede, in the lead, marched with an emphatic military step, arms swinging in tandem to a silent beat, an angry cast to her face.. As they approached me, I was about to ask if they had forgotten a film or something, but they strode by, Elfriede in a hot fury looking straight ahead, Bill glancing over to me with his mild "everything's o.. " smile.. When they reached the middle of the block, Elfriede suddenly turned, marched past me again with Bill following, and the two of them continued on in the direction of the camper, the wrathful spirits of the spleen having been exorcised, I assumed.. May 5.. Bill Moritz's show at the Anthology.. Generous soul that he is, he started the long program by showing four films by James Whitney, one of which, Wu Ming, lasts almost half an hour and ends with a screen-sized dot slowly receding into infinity.. Mekas later declared this film "looks like it's made by gods.. " Moritz also showed.. Tanka.. , by another West Coast filmmaker David Lebrun, a rapid collage of an Indian painting shot in triple-frames.. Mekas' expression after this film (which.. I.. enjoyed) seemed to say he did.. not.. feel it was made by gods.. We don't know what he thought of Bill's work because he left before it began; so did a few in the already sparse audience, including a pair of gum-cracking teenage girls who, wandering the East Village for something to do, were enticed by Bill Moritz standing at the door of the Anthology promising "new and different films.. Their loss.. They missed what is an exotic mind-trip for most of us Eastern filmmakers: the special sensibility of the West Coast film artist.. Bill Moritz wants to establish "a new rapport between filmmaker, imagery, and viewer.. " To do this, he makes viewing his films a very personal experience.. He introduces each film in person and reads selections of his poetry; he projects some films with two or three projectors running simultaneously; he burns incense, rings Tibetan bells and makes noises from different parts of the theatre; for one film he ran back and forth in front of the projector with Fourth of July sparklers in both hands.. If his poems have a libidinous drive behind them, (e.. "I Met a Former Lover at a Tap Dance Class," "Homoh Love Poem for Jasper"), many of his films possess a spirituality, clear and lyrical, (e.. Jude, Haiku for Buddah-John.. ), and both his poems and his films share his sense of cosmic humor.. While Bill Moritz stretches "the expressive capacity of film and the perceptual vocabulary of the viewer," he is smiling.. May 14.. We had dinner together this Saturday night and went to see former animator Walerian Borowczyk's erotic spoof,.. The Beast.. May 15.. We visited the Nicholas Roerich Museum on West 107.. th.. Street to see the unique and mysterious paintings of Himalayan landscapes by spiritualist/philosopher/painter Roerich (1874-1947).. Late that afternoon, Joe and I rode in the back of the camper, staring out the side windows and the ceiling-opening all the way down Broadway to Jonas Mekas' huge loft.. Bill had prepared a dinner at my place which we carried downtown in pots, kettles and jars.. There was a mixture of Indonesian/Balinese textures, including mixed salad with peanut butter sauce, banana yogurt with dill, spicy chicken, and so on.. There was lots of wine and Mekas tolerated with amusement my watching.. The Wonderful World of Disney.. on my portable TV (which I brought along to catch a show on cartoon villains).. He squeezed off a few frames on his Bolex, as is his custom, to preserve a record of the evening.. May 16.. The morning of the taping of the Fischinger show at CBS, Bill left the apartment early for the studio to transfer to tape the films we selected, clips of which would be edited into the final program.. Elfriede was relaxed but worried about what she should wear on the air.. She was eating a hard-boiled egg out of an improvised egg cup - one of my whiskey shot glasses - while sitting on the edge of the sofa in her long white cotton nightgown, surrounded by orderly piles of the usual film cans, paintings, photos, etc.. A tiny framed photo of the young Oskar Fischinger (which she always carries with her and displays when traveling) sat propped against a window sill.. We started to talk about her and Oskar's life in America at the same conversational point where we had left off five months before.. "It was quite a hassle," she said.. "We couldn't take any money with us from Berlin.. Paramount said we weren't supposed to tell the immigration office we had a contract, which made me suspicious.. We had to come in as visitors, for a year, then we got an extension, then they 'finagled' for a lot of money and we had to go to Mexico, re-enter the States as Mexican citizens.. She laughs, but then moans, "We were so frustrated and so misunderstood.. Oh, I can't tell you! And I got pregnant right away again.. Oskar was unhappy at Paramount.. That lasted only half a year.. A contract with MGM was slow in coming due to Oskar's immigration problems, but it finally came and he created.. , a fine work which played with first-run features.. " Fischinger's contract with MGM was not picked up because new departmental management preferred representational cartoons, e.. Tom and Jerry, to abstract animation.. Disillusioned by his life in the New World, depressed by the lack of outlets for his work in Hollywood, Fischinger drove alone to New York early in 1938 hoping to find backing for films he was planning.. He was surprised to find himself treated as a major artist in New York; his films were screened, his paintings exhibited; he was wined and dined by important artists and critics, and he obtained the promise of financial assistance from the beautiful and eccentric curator of the Solomon Guggenheim Foundation, Hilla Rebay.. Elfriede took care of the babies and started working at home knitting sweaters and sewing clothes for members of the film colony, such as Bette Davis.. Oskar returned to Hollywood late in 1938 only when his agent got him a contract with the Disney Studio to work on.. Fischinger had discussed his idea of an abstract animated feature using classical music with Leopold Stokowski when they were both at Paramount.. Elfriede's opinion of Stokowski? "Pretty boy.. Curly hair, very good-looking in a way.. Imposing figure.. Very friendly, very nice.. I wasn't worried at first, but I told Oskar don't tell everybody your idea, especially not Stokowski.. But actually he had already said it to the newspapers in Germany that he wished to make a concert feature.. " Stokowski took the idea to Disney and Oskar was hired to work on the "Toccata and Fugue" section as a "special effects animator.. " He lasted nine months before he quit in disgust over his inability to put his ideas across and the impossibility of making artistic decisions without going through committees and studio politics.. After Disney, Fischinger had had it with studios and working for other people; with a Guggenheim grant he began work on.. American March.. , a short finished in mid-1941.. He hired three girls and his wife to work on the film and Elfriede recalled, "Oskar put me on the employment roll and I got Social Security which does me some good now.. " She also worked two years (1946-47) at a film called California Accessories, "designing pocketbooks, weaving belts, shoes, caps on heads"; next she worked at a similar company for four years on the Sunset Strip.. The grants from the Guggenheim stopped after Fischinger and Hilla Rebay argued over the artistic merits of his last great film,.. Motion Painting I.. , completed in 1947, 20 years before he died.. "For the last 20 years of his life," Moritz once wrote, "Fischinger had to content himself with endless unfulfilled projects, with his paintings (which involved him in dozens of gallery shows), and with a home light-show instrument, the Lumigraph, which he invented in the early '50s but for which he never found commercial distribution.. "Even when we made momentarily big sums," said Elfriede, "from TV spots he animated, we had debts piled up.. We had to pay bills and we were right away down on the bottom again.. The children sold papers or babysat for extra income while going to school or universities.. Oskar killed any interest or desire they had to become artists.. "It was always touch and go.. He became a painter because he had more time on his hands.. He didn't make films because of the lack or money and the lack of getting to a screen.. Earlier in Berlin there was a club of independent filmmakers that stretched to theaters all over the whole of Europe.. He had access to a screen, his films got to the public.. But in Hollywood, except for art schools and museums, you couldn't get on the theater screen.. It was occupied by the cartoon.. Fischinger's spirit deserted him and then his health went.. "I think he ruined his health when he made.. Motion Painting.. ," Elfriede said.. "He sat there, day in, day out, smoking those cigars in a room with no air, painting one stroke and then leaning back to take one frame with the camera.. He did that for months.. He began to have mild strokes that left him paralyzed for days, then more serious ones.. Finally, a major heart attack ended his life.. "I wish I had never put him in the hospital," exclaimed Elfriede.. "I think the hospital killed him! They wouldn't let him walk.. The second day I came he told me they wouldn t let him go by himself to the toilet.. He also had diabetes.. "He wouldn't stick to doctor's orders anyway.. He had a very bad toe that looked gangrenous.. Our doctor was also a friend who collected his paintings so I could talk very freely to him.. Oskar just wouldn't do what was required.. He got cold feet so he put on plastic shoes.. Plastic house shoes! If the air can't get at.. " She shook her head.. "At home he wouldn't stay off his feet when the doctor said he had to lay down.. So the doctor said, 'Take it easy.. Have eight days in the hospital.. ' It sounded as if nothing would happen, that he would be back home in eight days.. My daughter took me down to the hospital every morning at eight and back home at six every day.. "I saw him have two strokes I'm sorry, I can't talk about it.. It's pretty horrible to watch it and you cannot do nothing about it.. " Her voice trailed off and she looked as if she were going to cry.. Later, as we walked across the courtyard of Lincoln Center, taking a short cut to CBS, I worried that Elfriede's mood would not be conducive to appearing on a network television taping in about an hour.. And I blamed myself for asking her those questions at this particular time.. But I reckoned without Elfriede's feisty resilience.. As we strode down 57.. Street, she talked about getting started again after Oskar's death.. "At first I didn't want to do nothing.. Sometimes I even have those spells now.. I just sometimes get to the point and tell myself.. okay.. ! If the world doesn't want to, why should I force it on the world, right? But then there were people who pushed me, like Guy Cote from Cinematheque Canadien, who right away wrote me letters saying it should be preserved.. He said he had money for the Animation Festival at Expo '67 in Canada, so I shipped some films out.. It did a good thing for me.. Oskar was represented in the history of animation exhibit.. It made my daughter say you come with us - my daughter wanted to go to the Expo by car with a friend and take me.. So I went and I saw all the country and it got me away from home, from everything.. We camped out.. I love to rough it! And I started to think anew and I started to think about a new life.. "This Expo started the ball rolling.. I heard from all of the Cinematheques.. It just went on and on and on ever since.. Bill and I were sitting on the "Fischinger set" under the lights as technicians adjusted cameras and mikes.. Elfriede finally appeared from "make-up" having decided to dress in a colorfully striped, voluminous robe.. She looked dignified, peaceful - beautiful.. The stage manager signaled me.. We were taping and I introduced the show and the two guests.. The first question was to go to Elfriede, as agreed upon in the pre-show meetings.. I knew her answer would set the mood for the rest of the show.. "Mrs.. Fischinger," I said, "tell us when and where Oskar Fischinger was born, a little about his background, and how he became interested in film.. Elfriede, completely relaxed and self-possessed, looked at me with level eyes and smiled.. "Of course," she began.. "He was born in Gelnhausen, which is near Frankfurt, Germany, in 1900.. Originally published in.. Funnyworld.. Magazine, No.. 18, Summer 1978.. The Camera 3 documentary on Fischinger is available through the.. CVM.. online store.. Return to Fischinger Archive.. HOME..

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  • Title: OF - Sounding
    Descriptive info: Sounding Ornaments (1932).. Between ornament and music persist direct connections, which means that Ornaments are Music.. If you look at a strip of film from my experiments with synthetic sound, you will see along one edge a thin stripe of jagged ornamental patterns.. These ornaments are drawn music -- they are sound: when run through a projector, these graphic sounds broadcast tones or a hitherto unheard of purity, and thus, quite obviously, fantastic possibilities open up for the composition of music in the future.. Undoubtedly, the composer of tomorrow will no longer write mere notes, which the composer himself can never realize definitively, but which rather must languish, abandoned to various capricious reproducers.. Now control of every fine gradation and nuance is granted to the music-painting artist, who bases everything exclusively on the primary fundamental of music, namely the wave -- vibration or oscillation in and of itself.. In the process, surface new perceptions that until now were overlooked and remain neglected.. Possibilities that are definitely significant for a scrupulous and profound creator of music, for example, precise overtones or timbres characteristic of a certain voice or instrument can be reproduced with accurate fidelity through these drawn patterns.. Or, when desirable, the profile of sound waves could be synchronized exactly, wave-trough with wave-trough, so that their dead-centers would coincide, sounding in perfect accord.. Or, furthermore, new musical sounds are now possible, pure tones with a precision of definition in their musical vibrations that could not be obtained formerly from the manipulation of traditional instruments.. A number of experiments that I have just made confirm the unprecedented range and significance of this method.. The soundtrack on present-day films is only 3 millimeters wide, but the artist of the future will naturally require the full width of the film-strip just for his musical composition.. It would be essential for a complex and distinct composition, with the abstract, diverse effect of an orchestra, to utilize several 3mm soundtracks running parallel to each other.. Each track would produce a different, well-defined sound, and planning them together, the composer could design and organize overlapping and intersecting wave  ...   German style of singing, for example, with its emphasis on loud and ringing chest tones, creates a much sharper visual profile on the soundtrack than the softer, more melodic French style of singing with its emphasis on limpid head tones that produce rounder optical wave undulations.. The new methods introduced here offer new, fruitful stimulation that should be provocative to the whole musical world.. Perhaps through the development explained here, the creative artist, the composer, will not only find a completely new way of working, but also he himself can simultaneously produce his creative expression in an indelible direct graphic which will be definitive in that he shall not be dependent on any reproduction by foreign hands, since his creation, his work, can speak for itself directly through the film projector.. The basis of designing a graphic art that can be actuated by a beam of brightest light will be the definitive, direct building blocks of music.. Now it is the task of Industry to produce practical equipment that will enable every competent person to work in this manner.. Besides a camera with the appropriate apertures for such soundtracks, the new equipment must include, certainly, the ability to play back the recorded sound on some speaker at any time, as often as the composer may want.. These music artists must also be concerned with combining their musical compositions created in this new manner together with appropriate optical imagery.. This should result in the potential for combination of sounding ornaments with visible filmic, spatial forms and movements.. With that union, the unity of all the arts is definitively, finally achieved, and has become unquestionable fact.. First published in the DEUTSCHE ALLGEMEINE ZEITUNG, July 8, 1932, then widely syndicated in other newspapers.. -------------------------------------.. Detail from display card by Fischinger, showing some of his ornaments :.. image (c) Elfriede Fischinger Trust, 1931-2005.. A 16mm version of Fischinger's filmed.. experiments has been preserved; an excerpt from this film can be seen in the Hirshhorn Museum's (Washington DC).. exhibition through Sept 11, 2005.. A 35mm version is currently being restored by the.. BACK TO.. FISCHINGER ARCHIVE HOME..

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  • Title: Fischinger - My Statements
    Descriptive info: by Oskar Fischinger.. To write about my work in the absolute film is rather difficult.. The only thing to do is to write why I made these films.. When I was 19 years old I had to talk about a certain work by William Shakespeare in our Literary club.. In preparing for this speech I began to analyze the work in a graphic way.. One large sheets of drawing paper, along a horizontal line, I put down all the feelings and happenings, scene after scene, in graphic lines and curves.. The lines and curves showed the dramatic development of the whole work and the emotional moods very clearly.. It was quite an interesting beginning, but not many could understand this graphic, absolute expression.. To make it more convincing, more easily understood, the drawings needed movement, the same speed and tempo as the feeling originally possessed.. The.. cinematic.. element had to be added.. To do this, the motion picture film was a welcome medium.. And so it happened that I made my first absolute film.. Then sound was added to the film.. On the wings of music faster progress was possible.. The flood of feeling.. created through music intensified the feeling and effectiveness of this graphic cinematic expression, and helped to make understandable the absolute film.. Under the guidance of music, which was already highly developed there came the speedy discovery of new laws - the application of acoustical laws to optical expression was possible.. As in the dance, new motions and rhythms sprang out of the music - and the rhythms became more and more important.. I named these absolute films Studies; and I numbered them - Study No.. 1, Study No.. 2, and so forth.. These early black and white studies drew enthusiastic response at the time from the most famous art critics of England and Europe.. Then came the color film.. Of course, the temptation was great to work in color, and I made thereafter a number of absolute color films.. But I soon found out that the simplicity of my own black and white films could never be surpassed.. The color film proved itself to be an entirely new art form with its own artistic problems as far removed from black and white film  ...   directors, animators, inbetweeners, inkers, cameramen, technicians, publicity directors, managers, box office managers, and many others.. They change the ideas, kill the ideas, before they are born, prevent the ideas from being born, and substitute for the absolute creative motives only the cheap ideas to fit the lowest among them.. The creative artist of the highest level always works at his best.. alone.. , moving far ahead of his time.. And this shall be our basis: That the Creative Spirit shall be unobstructed through realities or anything that spoils his absolute.. pure.. creation.. And so we cut out the tremendous mountains of valueless motion picture productions of the past and the future - the mountain ranges of soap bubbles, and we must concentrate on the tiny golden thread underneath which is hardly visible beneath the glamorous, sensational excitement, securely buried for a long time, especially in our own time when the big producing and distributing monopolies control every motion picture screen in an airtight grip.. Consequently, there is only one way for the creative artist: To produce only for the.. highest.. ideals - not thinking in terms of money or sensations or to please the masses.. The real artist should.. not care.. if he is understood, or misunderstood by the masses.. He should listen only to his Creative Spirit and satisfy his highest ideals, and trust that this will be the best service that he can render humanity.. It is the only hope for the creative artist that the art lovers, the art collectors, the art institutes, and the art museums develop increasingly greater interest in this direction, and make it possible for the artist to produce works of art through the medium of the film.. In this connection I wish to express my deep gratitude to one great American institution which has in the past helped so many artists in an idealistic, unselfish way, and which has made it possible for me to do a great amount of research work in the direction of the absolute, non-objective film.. I am speaking of the Solomon R.. Guggenheim Foundation in New York under the direction of Curator Hilla Rebay.. First printed in.. Art in Cinema.. catalog, San Francisco Museum of Art, 1947.. copyright Elfriede Fischinger Trust, all rights reserved..

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  • Title: Untitled Document
    Descriptive info: True creation.. At the beginning of the great unknown of all beginnings there is the Idea, a knowledge profound and unconscious, a feeling, a vision of the Ideal, of a path to follow, of everything, of the conclusion and of the end -- of which there never is one.. The arena of the experimental is the arena of consciousness that awakes and stretches, the time of searching, the discovery of a method of doing things, of developing methods and techniques -- which must correspond to the meaning and harmonize with it.. Unconscious vision of the beginning.. Then comes a period of studying the possibilities of a satisfactory or ideal technique, or of a method that will grow into the completeness, the recognition, the control of the means of expression until that can become a work of art.. Finally comes the moment to reject all that which becomes the tool of the creator -- the humble hand through which the artist expresses and reveals himself.. If the cinema one day becomes an artform, we will owe it to poor, unknown men who have borne great suffering within them: men comparable to Grünewald, Van Gogh, Rembrandt, Mozart and Beethoven.. These interpreters of the creator, the artists, will be recognized through their creations, some generations later, often after their bodies have rotted and disintegrated in the earth.. We will only find true artists and masterpieces among the so-called experimental films and filmmakers.. They actually use creative processes.. The film isn't "cut", it is a continuity, the absolute truth, the creative truth.. Any observer can verify that, and I consider myself an observer.. I worked nine months on a film, Motion Painting No.. 1, without ever seeing a piece of it.. All I did was check the exposure level of each roll that came back from the lab, so I only saw the film when the first color composite release print  ...   the animated film today is on a very low artistic level.. It is a mass product of factory proportions, and this, of course, cuts down the creative purity of the work of art.. No sensible creative artist could create a sensible work of art if a staff of co-workers of all kinds each has his or her say in the final creation -- producer, story director, story writer, music director, conductor, composer, sound men, gag men, effect men, layout men, background directors, animators, inbetweeners, inkers, cameramen, technicians, publicity directors, managers, box office managers, and many others.. They change the ideas, kill the ideas before they are born, prevent ideas from being born, and substitute for the absolute creative motives only cheap ideas to fit the lowest common denominator.. The creative artist of the highest level always works at his best alone, moving far ahead of his time.. And this shall be our basic tenet: that the Creative Spirit shall be unobstructed by realities or anything else that spoils this absolute pure creation.. And so we must cut out the tremendous mountains of valueless motion picture productions of the past and future-- the mountain ranges of soap bubbles-- and we must concentrate on the tiny golden thread underneath which is hardly visible beneath the glamorous, sensational excitement, securely buried for a long time, especially in our own era when the big producing and distributing monopolies control every motion picture screen in an airtight grip.. So only one way remains for the creative artist: to produce only for the highest ideals -- not thinking in terms of money or sensational success or to please the masses.. The real artist should not care if he is understood, or misunderstood, by the masses.. Written for the Knokke-le-Zoute film festival, 1949, when Motion Painting No.. 1 received the Grand Prize.. (copyright Oskar Fischinger, 1949 and The Elfriede Fischinger Trust, 2004, all rights reserved)..

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  • Title: Fischinger - Statement About Painting
    Descriptive info: Circles in Circle, 1949, oil on masonite.. A STATEMENT ABOUT PAINTING.. (1951) by Oskar Fischinger.. The stereo paintings in this exhibition are a more recent development than my other paintings, perhaps still too new to be fully understood and appreciated.. But they will be very exciting for everyone who has the patience to look at them and sutdy them, and really see them in their stereo quality and space reality as they are meant to be seen.. To see the space paintings, the following suggestions may help you: Stand (or sit) at a comfortable distance, squarely in front of the painting.. Eyes horizontal, parallel with the paintings.. Look and focus and put all your attention at a nearby point (reading distance) in line with the paintings.. To make it easier at the beginning, hold your finger or a pencil at reading distance.. This will help you to focus at that point in space.. Adjust the distance of that point slightly by moving backwards or forwards until you have the impression that the two panels of the stereo painting on the wall have moved apart from each other.. Then between them a new, a third painting of equal size appears, slightly more brilliant than the images at its right and left.. However, please do not take your attention away from the nearby point upon which you have focused all your attention.. This means-- in spite of the temptation to look at the real surfaces of the paintings on the wall (we are naturally conditioned to  ...   at first, don't feel discouraged.. Perhaps at another time you will succeed.. You are only postponing the moment of your discovery and joy.. You still have it ahead of you.. New conclusions, ideas, consequences spring out of space paintings.. Compositions must not only be two-dimensional or three-dimensional (as in perspective compositions) but must also be dimensionally composed into actual space.. Thus space painting opens up a tremendous new field for future artists.. The space stereo paintings are an outgrowth of.. MOTION PAINTING NO.. , my film which was awarded the Grand Prix at the International Film Festival in Brussels, 1949.. This film is a continuous oil painting, not of course a usual painting, but one done with the ideas of cinematic form, color, rhythm and movement.. The progress of the ideas and inventions in the painting was faithfully recorded by a stop-motion camera throughout more than a year, though the film rolls off before your eyes in ten minutes.. The effectiveness of its execution is the result of continuous work in this field since 1919.. As to the conclusion I might draw from this film, it is only that.. MOTION PAINTING No.. , as it unfolds itself, offers the viewer the same deep emotional feeling that he can receive from good music.. Thus we find that music is not limited to the world of sound; there also exists a music of the visual world.. Written for an exhibition at Frank Perls Gallery, Los Angeles.. images and text (c) Elfriede Fischinger Trust, 2007, all rights reserved..

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