"In 77, all the fluttering fragments of line and design that rush past the consciousness, like the increasing vibrancy and brightness of the colors, point to a festival of ideas that are appropriately offset by the simplest of noises on the soundtrack, like the sound of wind. These ideas inhabit a field that might be regarded as philosophical as well as perceptual; as Fred Camper writes (in program notes for the Millennium in 1979), 'The animated abstract shapes have a vivid, suggestive, almost anthropomorphic life; they have many of the qualities of representational objects occur with a kind of irrelevant (in a narrative sense) randomness that makes them less narrative, more purely moving forms, than similar objects have been in earlier Breer films.' This shifting, ambiguous relationship between the abstract and concrete lends an additional quirky life to Breer's perceptual transformations." (Jonathan Rosenbaum)