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.
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.