John Bishop, of Video Magazine in 1982, added in that “the emotional energy of the visuals equals and at times surpasses that of the music. The images are not slaves to the sounds but function the way a dancer does; interpreting, harmonizing, and enlarging the space created by the music” (Bishop, 1982).
Bob Stewart, of Heavy Metal Magazine in 1980, described the OVC as “Bill Sebastian’s towering color organ. Despite the technology involved the main factor here is personal expression. Sebastian’s hands glide over four hundred touch sensitive buttons as he does his electronic finger-painting, concentrating on size, symmetry, sharpness, continuity, and other emotionally significant concepts of the changing patterns seen on the eleven-by-ten foot display screen. He’s not switching on a gadget. Sebastian really is an artist functioning in a manner similar to a musician and performing on an instrument of great range and flexibility” (Stewart, 1980).