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Though this is cited by implication to Moritz's Fischinger biography, this detail does not appear in Moritz's book, nor does the note by Sito on page 13 of Fischinger's agent "sneaking a message to him" about a Paramount phone call.

Page 12: Re Fischinger in his Berlin studio in 1936, Sito states he was surrounded "by beautiful paintings, prints, and sketches in the twentieth-century abstract expressionist style." Correction: Since Fischinger didn't begin painting on canvas until after his arrival in Los Angeles in 1936, The Fischinger Trust states it is extremely doubtful his Berlin studio could have been full of paintings.

And even more remarkable that in 1936 Berlin, it could be full of abstract expressionist work (generally acknowleged as an American post-WW2 art movement developed in New York).n (1947)...." A number of authors (Youngblood, Moritz, etc.) have published, and Belson has verified, that his first films were made with hand drawn and painted traditional animation techniques.

One must question whether this special Xray rig Belson used for later films was actually used for his first hand drawn animated film.." Correction: Folkways released Harry Smith's Anthology in 1952, which was assembled and edited by Smith from his personal collection.

It was at Palais de Tokyo, Paris from June through September 9, 2013 and pending at several other museums. Original: "Charles Dockum produced a manifesto for his Non-Objective Kinetic group, a project begun by the Guggenheim's Hilla Rebay that was intended to house a collection of kinetic sculpture and abstract animation by the likes of Lye, Mc Laren, Francis Lee, and Dwinell Grant, and included Bute as a member." Cited from Peter Weibel, "The Development of Light Art" in , 211 (ZKM ex. Correction: This manifesto was by Oskar Fischinger, not Charles Dockum.


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