Bruce Baillie describes his simple, one-shot film All My Life as "Casper, California, old fence with red roses" (1966, 3 mins, PFA Collection). Larry Gottheim's lush The Red Thread, shot mostly in the Bay Area, links the spinning of thread and the weaving of fabric with the patterning of a film (1987, 17 mins, Canyon Cinema). Nathaniel Dorsky constructed Pneuma from outdated film stock, finding haunting and evocative colors in the emulsion and grain (1977?3, 28 mins @ 18fps, Silent, From the artist. Composed frame by frame in-camera, Rose Lowder's pulsing Parcelle takes its title from the French word for fragment (France, 1979, 3 mins, Silent, Canyon Cinema). When commissioned to make a beer commercial, Peter Kubelka constructed his legendary film Schwechater frame by frame (Austria, 1957?8, 2 mins, Canyon Cinema). Marie Menken describes her Eye Music in Red Major as "a study in light based on persistence of vision and enhancement from eye fatigue" (1961, 5.5 mins, Silent, Film–makers' Cooprative). George Kuchar's classic Hold Me While I'm Naked intertwines Hollywood glamour and real-life emotions (1966, 15 mins, PFA Collection). Storm de Hirsch's elaborate and dizzying Third Eye Butterfly was shot in Kodachrome and is a two-screen projection (1968, 10 mins, Film–makers' Cooperative).