Summary

Curious and intrigued by technological advances, Fischinger here also experiments with "synthetic sound" (he would not be the only one: later Norman McLaren played a lot with it). Thus he contructed the optical sound track directly onto the film. But beyond identifying harmonics and noises, he sought to understand to what sound emissions corresponded the geometrical and regular designs which, visibly, appear in their turn synchronously on the screen as true and proper "ornaments" of the sound which is being produced.