<This is an excerpt from a text I wrote last week, about a theoretical exploration between Ikeda and Visual Music. This particular excerpt is a (very) short segment about defining the vast artistic expertise that can be called ‘Visual Music’>

In discussion of experimental and ‘absolute’ film[1] of the 1920s and 1930s, the broad term visual music began to take form. Even before then, scholars have noted that the ‘color organs’ of the nineteenth century could be a precursor to these moving abstractions, without narrative but accompanied by music.[2]
                The term visual music can be considered a form of art in which the combination of moving imagery and sound establishes a temporal architecture in a way similar to absolute music[3], according to Diego Garro.[4] It can be defined as a historical reference and at the same time as a label for contemporary…