At the core of the NCET's efforts to re-envision television was the electron flow-not pictures or stories, but the flow itself, the very voltages that comprise the video signal. By manipulating the flow one could shape the indigenous modalities of the medium, which would then play out in what Brice Howard called "videospace." Within this primal image formation, two distinct approaches were pursued, one that filtered and processed images of the world and one that beckoned substance directly from the electronic circuitry. The results range from fluid and painterly landscapes to the sensuous articulation of elemental form. An early work by Sears, Loops (1968, 4:57 mins, Color), follows film-chain compositing into stroboscopic ecstasy. Two distinct but mesmerizing transformations take place in the mind-altering collaboration Untitled (1972, 22 mins, Color) by Hallock and Roarty. Roarty teams up with Rosenquist for Lostine (1973, excerpt from 39:30 mins, Color), a gorgeous composition that finds purity in an evolving source of light. The shoreline shimmers in Gwin's Pt. Lobos (1972, excerpt from 25:46 mins, Color), a time-based painting that follows the path of patina and coloration.-Steve SeidThis evening is dedicated to the memory of William Gwin and Willard Rosenquist.