Discrete images were modeled into a filmic form which grew out of visual kinetic linkages rather than linguistic modes, musical notions or anecdotal concerns. The elimination of narrative sequence suggests the concept of simultaneity which is usually associated with painting and which is demonstrated by the poetry of William Carlos Williams. Pale blue passages divide the film into three sections, composed from several thousand feet of film exposed since 1973 in a variety of geographical sites. The title of the film makes reference to Newton's corpuscular theory of light.

"Its three sections experiment in different modes of perceiving light. The opening section is reminiscent of Monet's studies of the changes of light over time at Rouen Cathedral .... The second section works largely with movement within the frame .... The images unfold through visual associations, such as the symmetrical images which balance and are the inverse of those preceding .... Although Lipzin's images ... are simply recordings of natural occurrences, PERIODIC VIBRATIONS IN AN ELASTIC MEDIUM is a testimony to the beauty and originality of Lipzin's eye ...." - Linda Dackman, Cinemanews

Selected Screenings:  
Museum of Modern Art, New York
Whitney Museum of American Art, New York
San Francisco Cinémathèque
Los Angeles Filmforum
Chinese Taipei Film Archive, Taiwan
Millennium Film Workshop, New York
De Saisset Museum, Santa Clara, CA
Ohio State University