Patterns, profiles, letters – the photocell of the film projector translates Moholy-Nagy’s “handwriting in sound” on the optical soundtrack of the film into electronic sounds.
No sooner had optical sound been invented than it was used in other than the intended way. Geometric patterns, intertwined lines, facial profiles and letters instead of voice recordings and music – Moholy-Nagy imaginatively designs the optical soundtrack of the film. The photocell of the film projector then translates his “handwriting in sound” into electronic buzzes and beeps, along and beside the musical scale.