In 1966, at the height of minimal art in New York, artist Michael Snow chose not to make another object to be placed in a room but instead spent a year planning a film of a room: Wavelength, a forty-five-minute more or less straight-line zoom from the near to the far wall of a loft s
“The camera of La Region Centrale, instructed and controlled by the machine, turns in a wild and isolated Canadian landscape in a series of circular variations whose multiplicity of speed, direction, focus is the function of a ‘liberated’ eye.
One of Michael Snow's earliest experimental works, Rameau’s Nephew by Diderot (Thanx To Dennis Young) By Wilma Schoen (1974), presents 26 successive scenes, each one a variation in the relationship between sound and image.