Oskar Fischinger's colleague Charles Dockum began creating devices for projecting abstract color plays even earlier, starting in the 1930s, after attending a Wilfred lumia recital in Waco, Texas. Dockum gave his first performances on his MobilColor device in 1936 as part of "An Evening of Modern Art" at the Monday Club in Prescott, Arizona, where he had been living under doctor's council due to respiratory problems. As the title indicates, Dockum's performances fell under the rubric of "art" rather than that of "film." The device used superimposed images from multiple filmstrips to produce colorfields of varying geometric shapes, thin streams of interlocking light that closely resemble those seen in Jim Davis's films of the same era, streaking points and clusters of light, and three-dimensional effects via the manipulation of lenses.
He went on to develop five more MobilColor models. In 1942, he performed at the Museum of Non-Objective Painting (now the Museum of Modern Art). In 1952, he gave a performance of his MobilColor IV at the Guggenheim Museum, which was filmed by Ted Nemeth (who had worked with Mary Ellen Bute). The seventh model was to have been computerized, automating the mechanisms so that they could be played without human performers.
Dockum with his MobilColor apparatus