Synchromy (1971)

McLaren took this equivalence of image and sound even further, and probably to its logical end, in his remarkable film Synchromy, from 1971. With Evelyn Lambart in the 1950s, McLaren had worked out the different patterns of stripes that would lead to them creating different notes of animated sound on the soundtrack area of a filmstrip. In Synchromy, McLaren first composed the soundtrack music using these cards, and then used these same sound patterns to create their exact animated visual equivalant. (“Every Film is a Kind of Dance”: The Art of Norman McLaren)

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