To exploit contemporary technological means to broaden mystery and subvert the machine.
To shrink distance between artist and spectator, spectator and spectacle.
To suggest a museum of creative presence, of living performance, of spontaneous action.
To machine a tool for visionary exploration.
To score music, light, poetry, dance, with a single notational system, thus pressing a unitary vision.
To create a lightshow, Cohen used a variety of light-projecting and light-manipulating devices such as slide and movie projectors, prisms, filters, projectors, a color wheel, a variety of lenses, and mirrors. To create a multidisciplinary performance, Cohen was convinced that electronic music would be the best sonic counterpart to the visual component, and he connected with two of the future ONCE composers: Robert Ashley (b. 1930) and Gordon Mumma (b. 1935). Using a variety of equipment such as amplifiers, oscillators, filters, and four-track tape recorders, the two men formed the Cooperative Studio for Electronic Music and began composing electro-acoustic music for over one hundred Space Theater performances presented between 1958 and 1964.