Throughout the history of avant-garde and experimental film and the aesthetic reflection on it, from the silent film era to the heyday of the New American Cinema, the image has always predominated. The incorporation of sound remained frowned on for a long time. The panel positioned the social, production-technical, and aesthetic context of this hegemonic place of the image and the discourses that have grown out of it. Michael Snow’s work from the sixties and early seventies breaks with this primacy of the image in an exemplary manner. What relations existed and still exist today between the various avant-garde strains of image, word, and sound art as well as their representation forms in media (performing arts, film, music, radio)? Special attention has been paid to the mutual influences and synaesthetic effects that find expression in image and montage compositions made according to a musical model, or in pictorial musical compositions.