Pioneering experimental filmmaker Jacobs’s various paracinematic performances, which include shadowplay as well as his Nervous Magic Lantern and Nervous System pieces, share many qualities with the light show. His shadow-play pieces of the mid-to-late 1960s, such as Thirties Man and Slow Is Beauty, utilized a back-projection system, mirrored lenses, strobe lights, colored filters, and a variety of projectors and shutters built or modified by Jacobs himself. The Magic Lantern works use many of the same titular proto-cinematic devices used by the Joshua Light Show to create overlapping, ghostly superimpositions. Jacob’s Nervous System works, such as his 2005 collaboration with avant-jazz composer John Zorn Celestial Subway Lines, Salvaging Noise, find the filmmaker improvising imagery to music from two projectors “that combine and overlap syncopated filmic images of recorded individual and captured events.” In certain of the Nervous System performances, Jacobs’s strobing images run in and out of sync with one another and very closely resemble the Joshua Light Show’s cloudlike abstractions.