Nearly three quarters of a century ago, Hans Richter stated: "There had to be a final break with the absurd prejudice that problems in the art of our times could only be resolved through oil painting or bronze." Although the light show would appear to have its ancestry firmly rooted in the soil of twentieth century painting, this has scarcely been acknowledged. Even a brief (and incomplete) survey of earlier efforts to combine music and visual effects, including Castel's "ocular harpsichord", Kastner's "Pyrophone", the work of Jameson, Bishop and others as well as Scriabin's light keyboard: for his "Poem of Fire" and the cinematographic projection of Survage, Eggeling, Richter and Leger seem ample evidence of the light show's artistic legitimacy. In addition, the work, both theoretical and actual, by artists at the Wemar Bauhaus is further proof, that as Moholy-Nagy stated in Vision In Motion: