Tönende Ornamente

Oskar Fischinger

Based on his research for “Tönende Ornamente” (Sounding Ornaments) (1932) Oskar Fischinger assumed that there are subconscious connections between culturally disseminated ornaments and their sounds when recorded on optical soundtracks. By drawing the optical soundtrack for “Sounding Ornaments” by hand, Fischinger attempted to prove that there is an aesthetic correspondence between visual and acoustic forms.