Daniel Kurth’s composition is not conceivable without referring back to Richter’s Rhythmus 21. In Rhythmus 21 Richter transferred an idea of music into visual movements; Kurth analysed this cinematic progression, and based on this analysis he composed music. He collaged old tapes and plays them back on an old tape machine. It is not a musical version of the film, but rather a new composition of the musical concept shown in the film. The film Rhythmus 21 forms together with the tape machine an object that is positioned on the wall in such a way that the film is not visible—only light and shade reflections are to be seen on the wall behind.