Abstract

_From Frank Popper — From Technological to Virtual Art (MIT Press):
“The American composer and light artist Paul Earls treated the laser as a musically responsive visual medium. Basically, he used the laser beam for its unique physical character­ istics: it travels across space without spreading, it retains its power at a dis­ tance, it has a single wavelength composition, it embodies power and heat in the form of light, and “its sensed character is of a living, vibrant, life-in-light.” Laser images are created within the eye and the brain, which interprets fast movements of light as lines rather than movement. These two-dimensional images can take on three-dimensionality through animation and modulation, which Earls achieved by the use of music and sound to expand, contrast, and rotate the images”.
Source: https://dokumen.pub/from-technological-to-virtual-art-hardcovernbsped-026216230x-9780262162302.html

• Paul Earls [1934 -1998], “a composer, (…) joined the Center for Advanced Visual Studies (CAVS) at MIT in 1970, looking for a visually engaging analog to his electronic music. With the resources available to him at MIT, he developed multicolor laser projections to accompany his music, ultimately leading to exhibitions and large-scale events during his 25-year tenure, which also encompassed numerous collaborative works with other Fellows. One example, conceived by György Kepes, is Flame Orchard, in which a large box emitted gas flames dancing to Paul’s electronic music”. _Zeren Earls (Paul’s widow)
  Source: https://berkshirefinearts.com/12-21-2011_visions-and-projections.htm