The two films on this program are both highly repetitious but ultimately deeply meditative studies of movement. Bruce Nauman’s 1971 Dance of Exercise on the Perimeter of a Square is well described by its title: for 11 minutes Nauman slowly dances to a metronome sound along each of four edges of a square on a studio floor, his actions as mechanical as he can make them, and the effect is to make the viewer vaguely uneasy about his own body. Paul Sharits’s 1971 S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED is perhaps his finest film. Deep vertical scratches in the film emulsion gradually appear during 42 minutes of repeated images of a stream: first there are a few, but by the film’s end the frame is almost filled with scratches, some of which still contain blue dye that echoes the flowing water. Sharits’s central comparison—between the scratches, which refer to the linearity of the film strip, and the more organic and unpredictable patterns of rushing water—underlines both the resemblances and the unbridgeable differences between technology and nature.