(Near) extinct technologies make sound visible in this program of shorts delving into ideas of knowledge, memory, and communication. On a Chladni Plate, a device that marked the birth of acoustics, grains of sand, moving like Busby Berkeley dancers, form intricate patterns in response to changing sound frequencies, their shapes recalling the utopian quest for a “pure,” onomatopoeic alphabet. Wax cylinder recordings combine with modern scientific instruments to animate a text by Rainer Maria Rilke on the possibility of hearing the dead by playing their skulls with a gramophone needle. A histrionic voice-over, translated into a wave of small flames on a Ruben’s Tube, provokes unexpected associations, from the biblical burning bush to various acts of ventriloquism in pop culture. Hand-drawn compositions by electronic music pioneer Daphne Oram are run through her radical invention, the Oramics Machine. Kaleidoscopic effects in the lamphouse of a 35mm-film printer honour Natalie Kalmus, colour consultant on masterpieces of the Technicolor era. The eyes of the George Eastman family and early Hollywood stars reveal chromatic distortions in some early colour film tests. And in a dramatic finale, Satz and experimental filmmaker Lis Rhodes encode their voices as abstract light patterns on 16mm mono and 35mm stereo filmstrips in a collaborative exploration of sound-image synchronicity.