Hubbry Logo
Liquid light showLiquid light showMain
Open search
Liquid light show
Community hub
Liquid light show
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Liquid light show
Liquid light show
Liquid light show
View on Wikipedia
from Wikipedia
Light from a liquid light show, being projected behind a guitarist
Layers of colored mineral oil and alcohol move over the projector lens and produce changing color patterns.

Liquid light shows (or psychedelic light shows)[not verified in body] are a form of light art that surfaced in the early 1960s as accompaniment to electronic music and avant-garde theatre performances. They were later adapted for performances of rock or psychedelic music.

Leading names included Bill Ham, The Joshua Light Show/Joe's Lights/Sensefex located in NY, Tony Martin (SF, NYC), Elias Romero (SF), Mike Leonard (lights for Pink Floyd) (UK),[1] The Heavy Water Light Show,[2] Mark Boyle's Lights/Joan Hill (UK),[3][4] Marc Arno Richardson’s Diogenes Lanternworks (SF, Denver),[5] Lymbic System (Mark Hanau) (UK),[6] Glen McKay's[7] Headlights, The Pig Light Show (NY),[8][9] Lights by Pablo (NY), The Brotherhood of Light (SF),[10] Little Princess 109 (SF),[11] LSD,[12] Ed's Amazing Liquid Light Show,[13] Abercrombe Lights (SF),[14] the Single Wing Turquoise Bird light show (California),[15][16][17] Sector (Alberto Zanotti) and Anna Patti (Italy). The Incredible Liteshow was run by Gary Gand in Chicago. Gand and his wife Joan went on to pioneer electronics in the Rock n Roll industry becoming the first Moog synthesizer dealer in the US and later the first Apple computer dealer in the music industry.

History

[edit]

Liquid light shows surfaced on both sides of the Atlantic around 1966 and were an integral part of the psychedelic music scene well into the seventies. Shows could be as simple as a single operator and two or three modified slideprojectors or overhead projectors and a couple of color wheels or as complex as shows with ten or more operators, 70 plus projectors (including liquid slide, liquid overhead, movie and still image models plus a vast array of highly advanced (for the time) special effects equipment).

The style and content of each show were unique but the object of most was to create a tapestry of multimedia live event visual amplification elements that were seamlessly interwoven, in a constant state of flux and above all, reflected the music the show was attempting to depict in emotional visual terms.

While the shows on both sides of the Atlantic had much in common they differed in two important ways. First, the American shows tended to be larger, with seven operators and over thirty projectors not being exceptional. In contrast, the shows in England and the continent of Europe seldom had more than three operators and ten or so projectors. Second, American shows were generally built around the overhead projector with the liquids in large clock cover glasses. Shows in England and Europe, in contrast, used modified 2" sq. slide projectors which had their dichroic heat filters (one or both) removed and employed two three or even four layers of slide cover glasses with one or two liquids (oil and water based, in the early days) between the glasses. Alternatively different coloured water based dyes were used in each layer, which slowly boiled producing pulsing vapour bubbles when exposed to the heat of the projector lamp with the heat filters removed. Consequently, randomly pulsing and moving blobs of colour were projected on the screen creating the light show. Before the projected layers totally dried out a new slide would be switched in the projector slide holder, meanwhile the old glass would be removed, cleaned and refurbished with new dyes and the projection process would continue. The surface tension of the liquids largely retained the mixtures between the glass slides, but the process was nevertheless very messy indeed and operators had their hands almost permanently stained by the dyes. A popular choice of colored liquids for light shows was Flo-Master ink, a product developed for use in permanent marker pens, also Vitrina which was intended for painting on glass. While these inks were very vivid they also had the problem of staining the operator's hands very deeply.

Two groups that are associated with the light shows they worked with above all others are Jefferson Airplane and the Headlights light show in America and Pink Floyd with light artist Mike Leonard in England.[1]

Leading shows

[edit]
  • Light Sound Dimension (LSD) was possibly the first psychedelic lightshow and was operated by Bill Ham. Ham pioneered kinetic lighting and actually used this technique at the Red Dog Saloon back in 1965. It was also at the Red Dog Saloon where Chet Helms first met Bill and asked him to produce lightshows at the Avalon Ballroom.[12]
  • The Joshua Light Show (also known as Joe's Lights and Sensefex) located in New York was founded by a filmmaker called Joshua White. The show was the 'house lightshow' at Bill Graham's Fillmore East for almost its entire existence. Formed from a lighting company called Sensefex which had been started by Joshua White, Thomas Shoesmith and Bill Shwarzbach, they moved to the Fillmore and became the Joshua Lightshow. Cecily Jaffe (at that time Cecily Hoyt) had now joined the team. Later they changed their name to Joes Lights having parted company with Joshua White. A video of Joshua White at work showing how some of the effects were achieved can be found here.[18]
  • The Holy See (SF) was formed by Ray Andersen (who had been a manager at the Matrix) and his wife Joan Andersen with the help of their friend John Blackwell and his wife. Their vivid lightshows were a staple during the psychedelic music heyday and they did light shows (usually at the Fillmore) for such bands the Jimi Hendrix Experience, Pink Floyd, the Doors, Ike and Tina Turner, the Grateful Dead, Big Brother and the Holding Company, Jefferson Airplane, It's a Beautiful Day, Yardbirds and many more. "We used about 15 to 20 projectors simultaneously in an evening," Ray Andersen stated. "We used overhead projectors and color wheels, strobes, clock faces, and dishes in various sizes. We mixed dyes, liquids, and oils and manipulated them. We used as many as a dozen carousel slide projectors or other slide projectors and as many as five movie projectors that would run either reels or loops. We used everything; you really had to work the limit." Ray also went to England to do lights for The Carnival of Light in 1967 featuring Paul McCartney.
  • The Heavy Water Light Show (Mary Ann Mayer, Joan Chase and John Hardham, SF), did shows and album covers for Santana, the Jefferson Airplane and the Grateful Dead before moving into planetariums in the 1970s. The cover of the LP Santana III is an image (or set of images) from their show. Their work is characterized by extensive use of photographs and film sequences in addition to psychedelic oil effects.[2][19][20][21]
  • The Pig Light Show was started by Marc L. Rubinstein in July 1967 as Saint Elmo's Fire and included Larry Wieder, Patrick Waters and Mark Miller as its core in its early years. The name was changed after (in his own words)[8] "a strange episode having to do with a Mothers of Invention concert at the Garrick Theatre in the Village", which resulted in Marc being given the local nickname "Pig", and the light show was known as Pig's Light Show. Many concerts including The Long Island Rock Festival which occurred over two Wednesdays in early August 1969 included ten who would play Woodstock a mere few days later would lead them to an “audition” at the Fillmore East in November of 1969 and through many performances elsewhere before taking over as House Light Show at Bill Graham’s Fillmore East in June of 1970 and as House Light Show at The Capitol Theatre in Passaic, NJ after the Fillmore’s closing in 1971. PLS also appeared weekly in the CBS Summer series “Comedy Tonight” with Robert Klein as well as Avco Broadcasting’s “Midsummer Pop” and ABC’s “Super Elastic Plastic Goggles” in 1970. After disbanding Pig Light Show (save for a show or two a year) Marc reintroduced Pig Light Show in 2007 in a digital improvisation performance platform.
  • Lights by Pablo are best remembered for the Liberation News Service Benefit at the Hotel Diplomat in NYC in May 1969. The concert featured the MC5 (Motor City Five).[22]
  • Little Princess 109 became a house light show for Bill Graham Presents (BGP) in 1968. Little Princess 109 worked at the BGP venues Fillmore West and Winterland, in San Francisco, California, continuously from December 1968 until Fillmore West closed in July 1971. Little Princess 109 worked for Graham longer than any other of the West coast light show groups, and performed more concert nights than any show for the entire Fillmore/Fillmore West/Winterland period.[11]
  • Abercrombe Lights were formed in 1966 and did many shows at Bill Graham's Fillmore Auditorium. The man behind it all is George Holden, who is still very much a key player on the Bay Area lighting scene. Abercrombe Lights lit most of the SF bands over the years including the Grateful Dead, Country Joe and The Fish and Jefferson Starship.[14]
  • Diogenes Lanternworks was a classic liquid light show provided by Marc Arno Richardson at Chet Helms' Avalon Ballroom in San Francisco and The Family Dog Denver in 1967.[23] Diogenes’ light shows can be seen credited on nearly all of the psychedelic posters done for the shows, many by Rick Griffin, Victor Moscoso, Stanley Mouse, Alton Kelly and others.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Liquid light show

View on Grokipedia
from Grokipedia
A liquid light show is a form of psychedelic visual that emerged in the mid-20th century, characterized by the live projection of abstract, patterns created through the manipulation of colored liquids, oils, and dyes on overhead projectors, often synchronized with to produce immersive, synesthetic experiences for audiences. These performances typically feature layers of , alcohol, and water mixed with pigments, which artists agitate to generate bubbling, swirling, and morphing visuals projected onto screens or walls behind musicians. The origins of liquid light shows trace back to the early in , where artist Seymour Locks experimented with overhead projectors and pans of paint or liquids at San Francisco State College, creating rudimentary moving abstractions for and performances. The form evolved rapidly in the mid-1960s amid the psychedelic , with pioneering its integration with rock concerts in 1965 at the Red Dog Saloon in , and later at venues. Key milestones include the January 1966 Trips Festival at Longshoremen's Hall, organized by and , where liquid projections accompanied bands like the , amplifying LSD-fueled communal experiences. The shows reached their zenith during the 1967 at ballrooms such as and , where collectives like the Single Wing Turquoise Bird in produced elaborate, improvisational displays that blended art, technology, and music. By the early 1970s, the phenomenon waned due to increasing commercialization, stricter drug laws prohibiting in 1966, and the rise of laser and video technologies, though its influence persisted in disco lighting, rave culture, and contemporary analog projection art. Liquid light shows held profound cultural significance as a cornerstone of the hippie movement, embodying the era's rejection of in favor of expanded , sensory immersion, and collective ecstasy often heightened by psychedelics. They transformed rock concerts into rituals, fostering a and challenging perceptual boundaries through vibrant, non-narrative visuals that evoked natural phenomena like lava lamps or cosmic flows. Techniques extended beyond basic liquid projections to include polarized filters, hand-painted slides, short films, and stroboscopic effects, allowing artists to respond spontaneously to musical rhythms and audience energy. Notable practitioners, such as Elias Romero, Tony Martin, and the Joshua Light Show in New York, elevated the form into a collaborative, anti-commercial art practice that bridged traditions with pop , influencing later visual media and experimental cinema.

Overview

Definition

A liquid light show is a form of that involves the projection of colored liquids, oils, and dyes—typically manipulated in real time on overhead projectors—onto screens or surfaces to produce abstract, flowing visual patterns and effects, often synchronized with live performances. These visuals emerge from the organic interplay of substances like , oils, and dyes, creating dynamic, amorphous shapes that evoke natural phenomena such as cellular division or cosmic flows. This art form originated in the early in the United States, particularly on the West Coast, where it developed as a live visual to rock, electronic, and concerts, enhancing the immersive atmosphere of countercultural events. It reached its height of popularity during the late 1960s amid the broader psychedelic movement. What distinguishes liquid light shows is their emphasis on analog, hands-on manipulation of physical materials to bend and refract light, producing unpredictable, fluid transformations that contrast sharply with static rigs or digital projections. This organic process fosters a sense of immediacy and , aligning the visuals directly with the emotional rhythms of the accompanying music. In terms of setup, liquid light shows typically employ a small number of projectors for intimate displays but can scale to dozens—sometimes operated by teams of projectionists—to generate expansive, layered multimedia environments that envelop audiences in a synesthetic experience.

Key Characteristics

Liquid light shows are renowned for their distinctive visual style, characterized by abstract, amorphous patterns that evoke cellular structures, cosmic flows, and organic movements. These effects are primarily achieved through the diffusion of colored liquids—such as oil, water, and alcohol mixed with food dyes—manipulated on overhead projectors, where light refraction and interference create fluid, ever-shifting forms that resemble living entities in perpetual motion. The visuals often feature wild, vibrant color palettes with shapes that fade in and out, producing smooth oscillations and a sense of infinite proliferation, as described in contemporary reviews likening the displays to "a living, proliferating quality" and "dynamic form of painting." A core element of liquid light shows is their sensory immersion, tailored for live environments with dim or darkened to heighten the impact of large-scale projections that could span entire walls in venues like ballrooms, often measuring tens of feet wide to envelop the audience. These projections synchronize dynamically with music rhythms through manual by artists, blending auditory and visual stimuli, fostering synesthetic experiences where viewers perceive as tangible, flowing visuals. This immersive quality transforms performances into multi-sensory spectacles, drawing audiences into a shared, realm that amplifies the psychedelic atmosphere of music scenes. The performative nature of liquid light shows emphasizes real-time by skilled operators, who manipulate liquids and lights spontaneously to respond to the evolving music and audience energy, without predetermined scripts or sequences. Shows typically last 1 to 3 hours, allowing for extended, collaborative flows between visual artists and musicians, where adjustments occur on the fly to maintain harmony and surprise. This live, adaptive process underscores the art form's emphasis on immediacy and presence. Thematically, liquid light shows embody a psychedelic and countercultural essence, evoking themes of fluidity, transformation, and of through non-narrative, abstract imagery that mirrors organic processes of creation and dissolution. Rather than telling stories, they prioritize evocative, boundless visuals that suggest cosmic interconnectedness and perceptual expansion, aligning with the era's exploration of mind-expanding experiences.

History

Origins and Early Development

The roots of liquid light shows lie in mid-1950s experiments in , influenced by earlier innovations such as Thomas Wilfred's lumia devices from the and , which employed mechanical projectors to generate abstract, evolving patterns of colored light as an independent art form. These built on precedents like early abstract film projections by artists including in the , emphasizing dynamic visual motion synchronized with sound. In , art professor Seymour Locks advanced these ideas in 1953 by using paint and a to create organic, plantlike light patterns accompanying jazz performances in Beatnik clubs, pioneering techniques that evolved into liquid projections among his students like Elias Romero. A pivotal figure in the early development was , who began experimenting with light and electricity in late 1964 and installed a prototype four-by-six-foot kinetic light mural at the Red Dog Saloon in , in June 1965, creating what is regarded as the first psychedelic light and rock 'n' roll show. Ham's innovations included using polarized light passed through oils to produce flowing, abstract visuals, which he adapted for Ken Kesey's events starting in late 1965, where these projections amplified the sensory effects of during multimedia gatherings featuring music and performance. By 1966, liquid light shows gained formal prominence in San Francisco's emerging scene. A significant milestone was the Trips Festival in January 1966 at Longshoremen's Hall, organized by and , where liquid projections accompanied bands like the . Ham presented multi-week performances at venues like the using overhead projectors to manipulate liquids and oils for live, improvisational projections. These early shows at the Avalon and Auditorium aligned with cultural milestones such as the January 1967 and the broader , marking the transition from experimental art to integral accompaniment for concerts. The primary motivations for these nascent light shows stemmed from the psychedelic culture's embrace of and the quest for visual parallels to the spontaneous, extended improvisations in music by groups like the , fostering immersive environments that blurred art, performance, and altered perception. Creators faced significant initial challenges, including the rudimentary nature of homemade setups reliant on basic overhead projectors, household oils, and dyes, which limited scale, durability, and reproducibility while emphasizing the medium's inherently ephemeral quality. Early techniques, such as layering colored oils on glass slides for projection, required constant manual intervention to achieve fluid effects but often struggled with spills, uneven illumination, and equipment overheating during live events.

Golden Age in the 1960s and 1970s

The golden age of liquid light shows, spanning the late 1960s and early 1970s, marked a period of explosive expansion within the scene, particularly in , where more than a dozen light show collectives were operating by 1967. These shows became integral to performances by prominent bands such as and , providing immersive visual backdrops at iconic venues like the Fillmore East in New York and the in . Pioneers like Joshua White, through his Joshua Light Show, helped elevate these displays from experimental art to a staple of the countercultural experience, synchronizing abstract liquid projections with live music to captivate audiences. Commercialization accelerated as light shows integrated deeply into rock concerts, with collectives touring nationally and achieving peak visibility at major festivals like Woodstock in 1969, where massive crowds experienced the hypnotic interplay of colored oils, water, and dyes projected on vast screens. Economically, these operations were modest but sustainable, with shows typically earning around $500 per gig and employing 5 to 15 people per to manage the complex setups of overhead projectors, basins, and rigs. The international spread began in the UK with Mike Leonard's innovative work for in 1967, incorporating dye injections into liquid mediums to create synchronized that influenced early European adaptations. By the early 1970s, the form had taken root across Europe, with artists like performing in cities from to until 1973. The era's decline set in by the mid-1970s, driven by shifts toward corporate rock, where bands prioritized stage visibility and spotlights over immersive light environments to boost their commercial appeal and record sales. Concurrently, the intensifying , launched in 1971, eroded the underground that had fueled demand, leading to crackdowns on psychedelic gatherings and a broader cultural pivot away from the ethos. The rise of shows in the further diminished interest, as their precise, high-tech beams offered a cleaner alternative to the organic chaos of liquid projections, resulting in many collectives disbanding by 1975.

Techniques and Equipment

Materials and Substances

Liquid light shows primarily utilize immiscible liquids such as oils and to generate dynamic visual patterns when projected. Common primary liquids include or vegetable oils for the non-aqueous layer, glycerin for increased , and alcohol (such as rubbing or ) mixed with to control flow and layering effects. These substances are colored using oil-soluble dyes for the oil phase and water-based food coloring for the aqueous phase, producing vibrant, contrasting hues that diffuse and blend under light. The core visual effects arise from the chemical immiscibility of oil and water, forming marbled emulsions and laminar flows; additives like dish soap introduce bubbling and foaming interactions by reducing surface tension. Post-1960s practices shifted toward non-toxic alternatives, favoring household items like vegetable oils and food dyes to mitigate risks, with operators reporting incidents like hair ignition from high-wattage lamps. Initially sourced from household supplies for cost-effective setups, materials evolved by the to include specialized oil dyes and agents from suppliers, enabling more consistent performances. Typical mixtures consist of varying combinations of oil base, alcohol-water solutions, and trace amounts of dyes, adjusted for desired flow dynamics. Stylistic differences existed between regions, with practitioners often using liquid slides and film loops for effects, while shows emphasized overhead projections with oils and inks for immersive displays.

Projection Methods and Setup

Liquid light shows primarily relied on modified overhead projectors as the core equipment for creating dynamic visual effects. These projectors, with outputs around 1600-3000 lumens, such as and Apollo models, were adapted by placing shallow glass trays or concave watch-glasses filled with liquids directly on the projector's stage. Slide projectors equipped with custom liquid cells were also used in some setups to layer additional effects. For more complex displays, multi-projector rigs employed 3 to 12 units simultaneously to achieve overlapping and layered projections, evolving from single-projector DIY configurations in the mid-1960s to sophisticated systems by the early . Safety considerations include using non-toxic materials, ensuring proper ventilation to avoid fume inhalation, and handling hot projectors carefully to prevent burns or fires. The operational process began with pouring base liquids, such as or mixtures, into the containers on the projector stage. Operators then manipulated the liquids in real time using tools like syringes, pipettes attached to rubber hoses (known as infusors), or manual stirring to shape flows, create vortices, and induce color shifts as the passed through the moving substances. Air streams from blowing or simple pumps could generate trails and currents, while tilting the trays controlled the direction of liquid movement. controls on the projectors allowed for intensity modulation, syncing brightness variations with rhythms, a technique that became standard in professional setups by 1970. Stage configurations typically positioned the projectors several feet behind large rear-projection screens to fill expansive venue spaces, such as ballrooms, with immersive visuals. Screens measuring around 20 by 30 feet, constructed from vinyl or for optimal , were common in performances, with projectors placed 10 to 20 feet away to achieve full coverage without . Integration with machines enhanced atmospheric depth by beams, while mirrors occasionally redirected projections for multidimensional effects in larger rigs. Maintenance involved cleaning the trays between performances to remove residue and prevent unintended color , often requiring dish swaps during shows. Full setups, including alignment and preparation, typically took 1 to 2 hours, reflecting the transition from impromptu basement experiments in 1965 to structured venue preparations by 1970.

Notable Artists and Shows

Pioneering Individuals

One of the earliest pioneers in liquid light shows was , a trained painter who began experimenting with polarized light and kinetic projections in 1964. Born in 1932 in , Ham earned a from the in 1954 and moved to in 1959, where he initially focused on mixed-media art. By 1965, he installed his first light mural at the Red Dog Saloon in , marking one of the initial integrations of psychedelic lighting with rock performances; this evolved in 1965 into "electric " using overhead projectors to create abstract, fluid visuals. Ham's work emphasized abstraction through layered colors and motion, influencing the Grateful Dead's early visuals at venues like the starting in 1966, where his Light Sound Dimension collective performed. Self-taught in after his fine arts background, Ham continued solo experiments and installations into the 2000s, including a 2005 exhibit in . Joshua White, another foundational figure, founded the Joshua Light Show in 1967 in , drawing on his studies in theater design and at Carnegie Tech (now ). Initially inspired by techniques and film projection, White engineered custom overhead projectors and liquid cells to produce scalable, improvisational visuals suitable for large arenas. His shows, which featured dye-infused oils projected in real-time, became resident features at the Fillmore East, accompanying hundreds of performances by artists like and through the early 1970s. White's innovations prioritized adaptability for massive audiences, enabling the light show to expand from intimate clubs to 3,000-seat theaters without losing psychedelic intensity. With a background bridging art and technical fields, he was largely self-taught in advanced optical manipulation, performing thousands of shows by the mid-1970s. In the , Mike Leonard emerged as a key innovator starting in 1966, collaborating closely with during their formative years as tenants in his home—earning them the moniker "Leonard’s Lodgers." A lighting enthusiast with a scientific bent, Leonard developed early dye-injection methods using oils, water, and colored liquids to synchronize abstract projections with music, self-taught through experimentation in analog mechanics and optics. His precise, thematic visuals tied directly to album concepts, notably enhancing 's 1967 tour for The Piper at the Gates of Dawn with swirling, immersive patterns that complemented Syd Barrett's psychedelic soundscapes. Leonard's contributions focused on narrative integration, setting a precedent for light shows as extensions of musical storytelling rather than mere backdrops.

Prominent Collectives and Performances

The Joshua Light Show emerged as one of the most influential liquid light collectives, operating primarily from 1968 to 1974 as the resident visual artists at New York City's Fillmore East. From March 1968 until the venue's closure in June 1971, the group delivered immersive projections for weekend performances attended by up to 10,000 people, syncing their abstract, fluid visuals with live music. They notably accompanied sets by and , enhancing the psychedelic atmosphere with layered oil-and-water abstractions projected across the stage. After performing at Woodstock and observing the explosive growth of audiences for , the group continued to innovate. On the West Coast, the Light Show ran from 1969 to 1975, gaining renown for its innovative water-based projections that created rippling, translucent effects. The collective toured extensively with major acts, including Santana, , and the , from 1969 through 1972, bringing their mobile setup to venues across the U.S. Their work emphasized dynamic manipulations, often improvising in real-time to match the improvisational energy of the bands. In , the Brotherhood of Light operated from 1967 to 1972, pioneering communal approaches to light show creation within the local psychedelic scene. The group collaborated closely with , providing synchronized visuals for performances at venues like West, where they highlighted collective improvisation over scripted sequences. Their efforts fostered a sense of shared artistry, with members rotating roles to generate evolving, organic projections. Liquid light shows reached landmark scale at key countercultural events, beginning with the 1967 Human Be-In in Golden Gate Park, which featured trippy light displays as one of the first large-scale integrations of the medium into a public gathering of thousands. The 1969 Woodstock festival showcased coordinated efforts by multiple collectives, including the Joshua Light Show, delivering continuous visuals across three days for an audience exceeding 400,000. In 1967, the form expanded internationally through performances with Soft Machine at venues like the UFO Club, blending British with American techniques. These collectives typically involved 10 to 20 members operating elaborate traveling rigs, which included dozens of overhead projectors, liquid trays, and support gear weighing several tons to enable nationwide tours. Other notable practitioners included Elias Romero and Tony Martin on the West Coast, as well as the Single Wing Turquoise Bird collective in Los Angeles and the North Beach Experimental Film Unit in San Francisco, which produced elaborate displays during the late 1960s.

Cultural and Artistic Impact

Role in Counterculture and Music Scenes

Liquid light shows emerged as a vital component of the 1960s movements, embodying ideals of expanded consciousness, communal harmony, and resistance to commercialism by creating immersive, non-hierarchical visual experiences that bypassed . These projections, often featuring swirling oils and dyes, symbolized psychedelic expansion and anti-materialist ethos, aligning with the era's emphasis on collective awareness and environmental interconnectedness. From 1967 onward, they were integrated into key gatherings, including the in San Francisco's , where approximately 20,000 participants experienced light-enhanced performances promoting peace and unity. Light shows also appeared in communes and anti-war rallies, such as Seattle's 1966 KRAB radio , which featured early multimedia displays that fostered group solidarity. In the music scenes of the late , liquid light shows synergized with psychedelic rock's improvisational style, providing dynamic visuals that mirrored the extended jam sessions of bands like the and . By 1968, they had become a standard feature at venues such as San Francisco's and Fillmore Auditorium, where artists like projected abstract patterns in real-time to complement the music's rhythmic and thematic fluidity, enhancing audience immersion during performances. This integration transformed concerts into total sensory events, with light operators improvising alongside musicians to evoke the spontaneity of psychedelic exploration. The social impact of these shows extended to promoting communal viewing rituals that encouraged shared , often under the influence of psychedelics, where the visuals mimicked LSD-induced hallucinations and reinforced drug culture's emphasis on altered perception. Their swirling, colorful abstractions paralleled fashion's organic patterns, both drawing from aesthetics of natural flow and visual transport, and contributed to a broader cultural shift toward expressive, attire. Events featuring light shows, such as those during the 1967 , drew crowds exceeding 10,000, creating spaces for collective bonding amid social upheaval. Despite their popularity, liquid light shows faced criticisms for , with detractors viewing them as overly indulgent spectacles that prioritized visual excess over substance, contributing to the 1970s backlash against countercultural as bands prioritized fame and clearer staging. Some in the scene dismissed certain styles as too mellow or escapist, favoring more grounded expressions amid growing societal . Archival evidence underscores their cultural embedding, as seen in the 1968 film Petulia, directed by Richard Lester, which incorporates liquid light projections during scenes of San Francisco's psychedelic nightlife to depict altered states and social flux. Concert posters, such as the 1966 Grateful Dead design by Bill Ham, further document this integration, advertising light shows as essential to the ballroom experience alongside band lineups.

Influence on Visual Arts and Multimedia

Liquid light shows significantly contributed to the evolution of visual arts in the 1970s by inspiring op art and kinetic sculpture through their use of layered collages, geometric patterns, and live manipulation of fluid forms, which echoed emerging chaos theories in physics and Abstract Expressionism. These shows influenced artists such as Jordan Belson, whose Vortex Concerts (1957–1959) at the Morrison Planetarium integrated abstract light patterns and electronic music, bridging early experimental visuals with later light/sound installations that emphasized cosmic imagery and real-time projection techniques. Belson's work, drawing from predecessors like Oskar Fischinger's Lumigraph and Thomas Wilfred's Lumia, helped shape the immersive, hallucinatory aesthetics that liquid light shows popularized in multimedia environments. In design, liquid light shows impacted album covers and posters by promoting fluid motifs and psychedelic aesthetics, transforming these media into platforms for sensory immersion during the era's rock concerts. For instance, the vivid, swirling patterns seen in 1960s concert posters from the adopted the dynamic, color-saturated visuals of light projections, influencing graphic design trends that blended fluidity with modern abstraction. While direct roots trace to earlier experiments like those at the , where László Moholy-Nagy's kinetic light sculptures explored projection and movement, liquid light shows democratized these ideas for mass audiences in the countercultural scene. The multimedia legacy of liquid light shows laid foundational groundwork for VJ culture, where live visual mixing reemerged in rave scenes to reinterpret reality through layered projections, echoing the original shows' intent to foster . This evolution is documented in scholarly works and exhibitions, such as the Media Archeology Festival, which highlighted their role in blending photography, film, and audio for immersive experiences. Academically, liquid light shows are recognized in art history as a form of populist , originating as accessible art tied to countercultural roots and emphasizing communal sensory engagement over elite formalism. Retrospectives, including the Museum of Modern Art's 2016–2017 on collections featuring the Joshua Light Show's Liquid Loops (1967), have underscored their enduring impact on experimental media. During the late psychedelic peak, nearly 100 light-show companies operated in the , influencing more than 500 artists through thousands of performances that integrated live visuals with music and theater.

Revival and Modern Developments

Resurgence in the Late 20th Century

By the early , the liquid light show scene had largely declined, as most collectives dissolved amid economic shifts in the live and the broader fading of the . Venues like East had closed in 1971, and the demand for elaborate psychedelic visuals waned with changing musical tastes and rising production costs, leaving only sporadic performances in underground raves and experimental art spaces. This period marked a transition from mainstream concert accompaniment to niche, low-budget revivals, where artists adapted techniques for smaller, alternative environments. The resurgence began tentatively in the 1980s through underground psychedelic revivals in cities like , where retro liquid light shows reemerged at clubs such as The Crypt, evoking nostalgia for the era's immersive visuals. A key milestone came in 1989 with the formation of the Brotherhood of Light, a collective that revived traditional oil-and-water projection methods and toured extensively with starting in the early 1990s, exposing the art form to broader audiences on major stages. Similarly, the pioneering Joshua Light Show reunited in the mid-1990s, recreating original techniques to accompany live music and demonstrate the enduring appeal of analog fluidity. In the , momentum built as liquid light aesthetics influenced culture's , with VJs incorporating swirling, organic projections that echoed the hypnotic effects of shows, often using overhead projectors in warehouse parties and festivals. This cross-pollination helped sustain the form amid electronic dance music's rise, though challenges persisted, including the restoration of aging equipment by dedicated enthusiast groups like the Liquid Light Lab, which preserved vintage projectors and slides from collections such as Bob Lewis's. Costs for assembling functional vintage setups escalated due to the scarcity of period-specific overhead projectors and chemicals, often exceeding several thousand dollars for comprehensive rigs. By the decade's end, digital archiving initiatives emerged around , digitizing footage and techniques to document the art form's legacy and facilitate future revivals.

Contemporary Practices and Innovations

In the , liquid light shows have seen a resurgence through dedicated collectives that blend traditional analog techniques with contemporary enhancements. Liquid Light Lab, led by artist Steve Pavlovsky and active since 2007, exemplifies this by creating live projections using oil and water mixtures on overhead projectors, often augmented with high-resolution and software integration for dynamic visuals. The group has performed at events such as Austin Psych Fest from 2012 to 2016 and collaborated with musicians including bassist and drummer , bringing the format to and psychedelic music scenes. Similarly, Mad Alchemy, a San Francisco-based collective formed in the mid-2010s, revives improvised liquid light performances to accompany live concerts, emphasizing communal and immersive experiences for new audiences. Other active groups, such as the San Diego Liquid Light Society (S.D.L.L.S.) and Australia's Liquidelic performing ensemble, contribute to a growing network of artists preserving and evolving the art form through appearances and workshops. Technological fusions have expanded the possibilities of liquid light shows, combining classic projectors with digital tools to enhance scalability and interactivity. Since the early 2010s, practitioners like those at Liquid Light Lab have integrated analog liquid projections with software such as Resolume for real-time video mixing and 4K output, allowing patterns to be captured, manipulated, and projected onto large surfaces or LED installations. Hybrid setups also incorporate immersive environments, including full-dome projections in planetariums and LED domes like the COSM Immersive system used in 2023 and 2024 performances, enabling multi-sensory experiences that extend beyond traditional screens. These advancements, discussed in presentations at events like the 2020 Vidicon conference on experimental media, allow for precise control over color gradients and motion while retaining the organic unpredictability of . The global spread of liquid light shows has accelerated in the 21st century, with revivals appearing across continents through festivals and collaborative projects. In , artists draw on historical influences to stage performances at events like the Nimbin Roots Festival in —highlighting cross-continental exchanges—and urban light art gatherings that echo psychedelic roots. The Light Windows initiative, launched in 2020 amid the pandemic, connected over 90 artists across 18 countries, including remote locations like , to share liquid light techniques virtually and foster international experimentation. Annual gatherings such as the Vidicon conference, held since at least the early 2000s, serve as hubs for global practitioners to showcase evolutions in the medium, with talks in 2020 addressing contemporary adaptations and a 2025 presentation at Video Sync continuing the tradition. Innovations in materials have made liquid light shows more accessible and sustainable for modern use. Collectives like Liquid Light Lab have developed non-toxic, vegetable-based oil dyes since the , available in concentrated formulas that produce vibrant colors without harmful chemicals, reducing environmental impact compared to earlier petroleum-derived substances. These dyes, offered in sets of up to 15 colors, support both live performances and home experimentation, democratizing the art form. Today, dozens of active groups and individual artists worldwide sustain liquid light shows, particularly at , and electronic music festivals, where they enhance live sets with synchronized visuals. Documentation from the 2020 Vidicon conference highlights ongoing experiments in hybrid media, underscoring the medium's vitality in contemporary and performance. Performances continue into 2025, including Liquid Light Lab's shows at venues like , demonstrating the enduring appeal and adaptability of this analog-digital hybrid art.

References

  1. https://rhizome.org/editorial/2009/apr/15/maximal-art-the-origins-and-aesthetics-of-west-coa/
  2. https://www.lafilmforum.org/fiscal-sponsorship/over-head/
  3. https://repository.library.northeastern.edu/files/neu:336751/fulltext.pdf
  4. https://sites.asit.columbia.edu/wp-content/uploads/sites/29/2022/05/Stabler-Timmy_Final-Thesis.pdf
  5. https://www.tate.org.uk/tate-etc/issue-4-summer-2005/tune-turn-on-light
  6. https://archive.seattletimes.com/archive/19951110/2151706/projecting-the-light-fantastic----the-psychedelic-60s-art-form-makes-a-dazzling-comeback-turning-music-into-theater
  7. https://www.collectorsweekly.com/articles/lightman-fantastic/
  8. https://billhamlights.com/history/
  9. https://americanart.si.edu/exhibitions/lumia
  10. https://www.theartblog.org/2018/01/thomas-wilfreds-early-influential-light-art-from-1919-rediscovered-in-lumia-at-the-smithsonian-american-art-museum/
  11. https://caareviews.org/reviews/3386
  12. https://www.reddogvc.rocks/history
  13. https://diggers.org/chrono_diggers_sql.asp
  14. https://www.tandfonline.com/doi/full/10.1080/0950236X.2024.2321912
  15. https://www.tumblr.com/liquidlightlab
  16. https://www.rollingstone.com/music/music-features/inside-joshua-light-shows-50-year-quest-to-make-rock-roll-visual-199321/
  17. https://www.pooterland.com/lightshows_joshua.html
  18. https://dangerousminds.net/comments/mike_leonard_the_man_who_created_pink_floyds_light_show_magic/
  19. https://trps.org/2022/12/01/new-book-on-british-light-shows-shines/
  20. https://www.frieze.com/article/light-laboratories
  21. https://www.optica-opn.org/home/articles/volume_21/issue_5/features/a_short_history_of_laser_light_shows/
  22. https://plsn.com/articles/projection-design/mad-alchemy/
  23. https://artinventionlab.com/2014/09/28/liquid-light-shows-4-6th-grade/
  24. https://www.instructables.com/Old-School-Psychedelic-Light-Show/
  25. https://www.phinnweb.org/retro/garage/lightshows.html
  26. https://www.jasonfletcher.info/vjloops/liquid-lights.html
  27. https://www.pooterland.com/lightshows_liquid_light_lab.html
  28. https://monoskop.org/images/8/8b/Malina_Frank_J_ed_Kinetic_Art_Theory_and_Practice_1974.pdf
  29. https://lightform.com/blog/the-history-of-projection-technology
  30. https://www.heavym.net/did-you-know-4-the-1960s/
  31. http://www.joshualightshow.com/about-classic/joshua-light-show-1967-68
  32. https://issueprojectroom.org/event/soundscreen-design-presents-seriously-ecstatic-joshua-white-fillmore-east-1968-70
  33. https://www.pooterland.com/lightshows_heavy_water.html
  34. https://www.pooterland.com/lightshows_brotherhood.html
  35. https://www.posterdrops.com/lighting/16
  36. https://www.djtees.com/blogs/djtees-blog/the-human-be-in-golden-gate-park-san-francisco-1967
  37. https://www.liverpoolmuseums.org.uk/rock-music-and-development-of-staging
  38. https://www.foundsf.org/Human_Be-In%2C_1967
  39. https://www.theguardian.com/fashion/2018/sep/19/tie-dye-fashion-bieber
  40. https://www.britannica.com/topic/hippie/Be-ins-music-festivals-and-other-public-gatherings
  41. https://www.eyefilm.nl/en/whats-on/petulia/267093
  42. https://openspace.sfmoma.org/2010/10/jordan-belson/
  43. https://www.tate.org.uk/press/press-releases/summer-love-art-psychedelic-era
  44. https://news.harvard.edu/gazette/story/2007/07/light-prop-shines-again/
  45. https://www.moma.org/collection/works/200467
  46. https://www.jstor.org/stable/10.1086/591166
  47. https://www.eyemagazine.com/blog/post/the-fantastic-light-trip
  48. https://thequietus.com/culture/books/kevin-foakes-wheels-of-light-interview/
  49. https://core.ac.uk/download/327071413.pdf
  50. https://www.reddit.com/r/TripCaves/comments/wxtwmx/anyone_know_where_to_buy_those_70s_oil_lamp/
  51. https://liquidlightlab.com/home.html
  52. https://www.sfweekly.com/music/mad-alchemy-revives-liquid-light-shows-for-a-new-generation/article_79468705-ba1d-55ea-a9ce-e3db707aa892.html
  53. https://www.instagram.com/sdliquidlightsociety/
  54. https://nimbinrootsfest.com/psychedelic-light-show/
  55. https://www.youtube.com/watch?v=gDYDq3eNUZc
  56. https://www.youtube.com/watch?v=wL6iiAcgdMY
  57. https://www.liquidlightshop.com/product/complete-8-color-set-concentrated-oil-dye-1-oz-bottles-non-toxic-formula
  58. https://www.instagram.com/p/DLBbpcrN7nG/
Add your contribution
Related Hubs
User Avatar
No comments yet.