The visual score, after Kandinsky

 If you start here

or here

you can stop here

with a leapfrog to Trimpin and Christian Marclay without missing much in between.

Minus the mysticism, Trimpin and Marclay are as committed as Kandinsky to the visual implications of sound. While many of Kandinsky’s ideas about spiritual color and visual sound found few takers in the second half of the 20th century, they are in play today.

Trimpin– Score for PHFFFT

I remember as a child helping to build huge, wooden discs to set on
fire at night and roll off a ramp to hang in the air and fall into the
valley below, as part of an old German festival. I heard the whistling
and crackling of the wet wood as it rolled down the ramp and thought of
opera. I asked the other boys, `Do you hear that?’ They said no. I like
to think my work enables other people to hear what I hear.

Marclay

I composed a
silent collage of found film footage partially layered with computer
graphics
to provide a framework in which live music can develop. Moving images
and
graphics give musicians visual cues suggesting emotion, energy, rhythm,
pitch,
volume, and duration. I believe in the power of images to evoke sound.

Image from Marclay’s Screen Play