Through personal reminiscences, the concealed/unconcealed, hermetic/open connections of various experiences, feelings, thoughts and intuitions, the essay attempts to illuminate – or, even better, dim – a few intersections of sound and images, music and film. In writing about and going through Maya Deren’s Meshes Of The Afternoon (1943), Carole Schneemann’s Fuses (1967) and Alejandro Jodorowsky’s Fando and Lis (Fando y Lis, 1968), the focus in not on the unity and strict theoretical consistency but rather the faithfulness to disarray and chaos, the polyphony and latent subversion of established connections and potentialities. How can certain ideas of sound, noise and music influence the thinking of these films, scenes, approaches and authors?

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