In the following essay we are going to analyse therelationship between sound and image in computermusic. We will be examining sound visualisationsoftware, and its evolution over the thirty-five yeartimespan in which it has existed. How we judge software,is based on aesthetic criteria, the way they were handeddown to us from theories of abstract painting (20thcentury avant-garde) , the theory of montage by SergeiEisenstein, of neurophysiology (synesthesia, muscularimages) and of the successful correspondence of thetwo media (pixel and music) in the works and theoryof James Whitney.