In its earliest form as the Experimental TV Project, the NCET deliberately sought artists with little or no moving image experience. The endeavor here was the artistic appropriation of video technology, not the replication of film or television models. From its nascent moments, the NCET promoted the intermix of art practices-poets, dancers, painters, and composers confronting the temporal flexibility and spatial displacement of the video medium. Dozens of works were created that made pioneering use of feedback effects, tape delays, complex keys, and other image manipulations, all serving this intermingling of media. Tonight's inaugural program features the most stunning of the interdisciplinary works, such as Kyger's Descartes (1968, 11:05 mins, B&W), a prodigious poem seeking out "Mother God"; Felciano's Linearity (1967, 13:14 mins, B&W), a composition for harp and temporal shifts; Allan's Flour Arrangement (1967, excerpt from 24 mins, B&W), a sly parody of talk TV with Bruce Nauman as the special guest; Sears's Slip Back Into the Shining Sea (1967, 11:15 mins, B&W), an improvised sound poem using complex compositing; and Roarty's Awakening (1975, 12:23 mins, B&W), a subtle study in light, movement, and the human form.-Steve Seid