Mary Hallock-Greenewalt played the piano with the Philadelphia and Pittsburgh Orchestras as a concert soloist, invented her own color organ that she called a "Sarabet" after her mother, and, in her pursuit of the art she named "Nourathar" by combining the Arabic words for "essence of light,"she had to invent the machinery required as well. Numbered among her inventions are the rheostat that allos the gradual fading of light, the mercury switch, and was among the earliest developers of colored gel filters for tinting theatrical lights. Her patent for the rheostat became the subject of an infirngement lawsuit in the lat 1920s against such large corporations as General Electric, a lawsuit that she ultimately won in 1936. This volume collects all eleven of her technology patents, revealing the refinement and evolution of the Sarabet. These patents also enable a clear evaluation of her contributions to visual music, since, as Dr. Betancourt notes in his introduction, the patents allow a much clearer determination of her place in history and a peer-reviewed statement of her accomplishments.

Making Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue. This book provides a comprehensive history of this tradition of “handmade cinema” from the early twentieth century to the present, opening up new conversations about the production, meaning, and significance of the moving image. From painted film to kinetic art, and from psychedelic light shows to video synthesis, Gregory Zinman recovers the range of forms, tools, and intentions that make up cinema’s shadow history, deepening awareness of the intersection of art and media in the twentieth century, and anticipating what is to come.

Hypatia was a Greek mathematician, astronomer, and philosopher who invented the hydrometer in about 400 AD. Described as a charismatic teacher, she was seen as an evil symbol of the pagan science of learning and she was eventually murdered by Christian zealots. For many women in years gone by, the invention process was fraught with danger and difficulty. Not only did they face the hardship and obstacles of inventing, they also had to contend with the sexism and gender discrimination of a male world that believed women had nothing to contribute. Scientific women came to the fore with momentous innovations which were impossible for men to ignore. During World War Two, Austrian actress Hedy Lamarr became a pioneer in wireless communications, developing a “Secret Communications System.” More recently, 20-year-old Ann Makosinski has invented the ingenious Hollow Flashlight which converts radiant body heat into electricity. Meanwhile other women continued inventing in the domestic sphere with Miracle Mops, long-lasting lipsticks, and magic knickers. In every walk of twenty-first century life women have been challenging themselves (and men) to shape the way we live. Some of the incredible innovators featured include Myra Juliet Farrell, Sally Fox, Rosalind Franklin, Helen Murray, Anna Pavlova, Mária Telkes, Giuliana Tesoro, Halldis Aalvik Thune, Ann Tsukamoto, Margaret A. Wilcox, Ada Lovelace, and many more. The 150 remarkable women in this book show all too clearly that not only can invention no longer be described as a male dominated domain but that a woman’s inspiration and ingenuity will probably be driving the life-changing ideas of tomorrow’s world.

Expand your knowledge of the aesthetics, forms and meaning of motion graphics as well as the long-running connections between the American avant-garde film, video art and TV commercials. In 1960 avant-garde animator and inventor John Whitney started a company called "Motion Graphics, Inc." to make animated titles and logos. His new company crystalized a relationship between avant-garde film and commercial broadcast design/film titles. Careful discussion of historical works puts them in context, allowing their reappearance in contemporary motion graphics clear. This book includes a thorough examination of the history of title design from the earliest films through the present, including Walter Anthony, Saul Bass, Maurice Binder, Pablo Ferro, Wayne Fitzgerald, Nina Saxon, and Kyle Cooper. This book also covers early abstract film (the Futurists Bruno Corra and Arnaldo Ginna, Leopold Survage, Walther Ruttmann, Viking Eggeling, Hans Richter, Oskar Fischinger, Mary Ellen Bute, Len Lye and Norman McLaren) and puts the work of visual music pioneers Mary Hallock-Greenewalt and Thomas Wilfred in context. The History of Motion Graphics is the essential textbook and general reference for understanding how and where the field of motion graphic design came from and where it's going.

R. Bruce Elder argues that the authors of many of the manifestoes that announced in such lively ways the appearance of yet another artistic movement shared a common aspiration: they proposed to reformulate the visual, literary, and performing arts so that they might take on attributes of the cinema. The cinema, Elder argues, became, in the early decades of the twentieth century, a pivotal artistic force around which a remarkable variety and number of aesthetic forms took shape. To demonstrate this, Elder begins with a wide-ranging discussion that opens up some broad topics concerning modernity’s cognitive (and perceptual) regime, with a view to establishing that a crisis within that regime engendered some peculiar, and highly questionable, epistemological beliefs and enthusiasms. Through this discussion, Elder advances the startling claim that a crisis of cognition precipitated by modernity engendered, by way of response, a peculiar sort of “pneumatic (spiritual) epistemology.” Elder then shows that early ideas of the cinema were strongly influenced by this pneumatic epistemology and uses this conception of the cinema to explain its pivotal role in shaping two key moments in early-twentieth-century art: the quest to bring forth a pure, “objectless” (non-representational) art and Russian Suprematism, Constructivism, and Productivism.

The era of silent film, long seen as black and white, has been revealed in recent scholarship as bursting with color. Yet the 1920s remain thought of as a transitional decade between early cinema and the rise of Technicolor—despite the fact that new color technologies used in film, advertising, fashion, and industry reshaped cinema and consumer culture. In Chromatic Modernity, Sarah Street and Joshua Yumibe provide a revelatory history of how the use of color in film during the 1920s played a key role in creating a chromatically vibrant culture. Focusing on the final decade of silent film, Street and Yumibe portray the 1920s as a pivotal and profoundly chromatic period of cosmopolitan exchange, collaboration, and experimentation in and around cinema. Chromatic Modernity explores contemporary debates over color’s artistic, scientific, philosophical, and educational significance. It examines a wide range of European and American films, including Opus 1 (1921), L’Inhumaine (1923), Die Nibelungen (1924), The Phantom of the Opera (1925), The Lodger (1927), Napoléon (1927), and Dracula (1932). A comprehensive, comparative study that situates film among developments in art, color science, and industry, Chromatic Modernity reveals the role of color cinema in forging new ways of looking at and experiencing the modern world.

"This book is a collection of primary source documents for visual music instruments, often called 'color organs' [or lumia], gleaned from the United States Patent Office."--Back cover.