Lillian F. Schwartz's interest in the merger of art and technology led her to become a consultant and "resident" at Bell Laboratories in the 1970s where she pioneered computer-generated art and computer-aided art analysis. Working independently as well as with leading scientists, engineers, physicists, and psychologists, Schwartz developed effective techniques for the use of the computer in film and animation, and made a number of short films utilizing the resources and colleagues around her. In the tradition of "visual music," her work from this period features animated computer-based shapes and fields—transformed through color gels and film stock— that synch, pulse, and grow to the equally distinct and complex computer and electronic soundtracks. Connected through Bell Laboratories, Schwartz worked with such composers as F. Richard Moore, Jean-Claude Risset, and Gershon Kinglsey, all pioneers in computer and electronic music. One night only with special 3-D surprise!