Following his philosophy of Cinematics, Sharits began making films that were meant to push perceptual limits, “so that one cannot tell whether or not what one is experiencing is in the work or in oneself.” The labor behind this bodily synesthesia is illustrated in Analytical Studies III, which shows Sharits and his students at work, and in the gloriously “pulsating dialectic” of the two-screen Shutter Interface. 

Analytical Studies III: Color Frame Passages 1973–74, 22 mins, Color, 16mm, From Canyon Cinema.

Shutter Interface 1975, 24 mins, Color, 16mm two-screen projection, From Film-makers' Co-op.

Tails 1976, 3 mins, Silent, Color, 16mm, From Canyon Cinema.