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​​​​​The man who could not see far enough  33 min.  1981
​The film uses literary, structural, autobiographical, and performance metaphors to construct a series of tableaux that evoke the act of vision, the limits of perception, and the rapture of space.   The film ranges in subject from a solar eclipse shot off the coast of Africa to a hand-held filmed ascent of the Golden Gate Bridge, and moves, in spirit, from the  deeply personal to the mythic. 

​​Secondary Currents  16 min.  1982
A film about the relationships between the mind and language. Delivered by a narrator who speaks an extended assortment of nonsense, it is an “imageless” film in which the shifting relationships between voice-over commentary and subtitled narration constitute a peculiar duet for voice, thought, speech, and sound.

​Analogies: studies in the movement of time. 14 min.  1977
The film uses multiple screen formats to create an intriguing series of visual riddles. Simple camera movements are rendered “diachronically”- several different aspects of the action are presented on the screen at once. By playing with time delays between these images, new kinds of space, action, gesture, and temporality have been found

​​​​SpiritMatters  6 min. 1984
A silent monologue on the simultaneous perception of space and time. The film was constructed without a camera by writing directly on clear celluloid, and then “translated” by refilming the resulting strips on a light table so that they appear as “subtitles” beneath the original inscription. 







​​Study in Diachronic Motion.  3 min.  1975
A first experiment in diachronic motion:  the simultaneous depiction of 
displaced moments in time.  Originally shot in 8mm.