“Every age has engendered its own characteristic music, shaped from the same forces that gave rise to the age itself. In our technological age music as an art form is subject to the forces of technology to an unprecedented degree.” These words come from a circular letter of the Siemens company from the year 1963. The answer to this is the synthesis of music and technology: electronic music. In order to advance and further develop the automation of sound production, Siemens created its own studio, which was headed by the sound technician Alexander Schaaf and the composer Josef Anton Riedl and was in operation for three years. The Siemens studio for electronic music is indicative of the openness with which companies approached artistic experiments at the time, a tendency that is also to be seen in the production of elaborate corporate and image films. The film programme, which includes Riedl’s Studien für elektronische Klänge [Studies for Electronic Sounds], surveys the communication technologies of the 20th century, from short-wave radio to colour television to the mobile phone. Advertising and informational films made by the Philips, Siemens and AEG-Telefunken companies, Oskar Fischinger’s Radio Dynamics and a video by Bas van Koolwijk and Gert-Jan Prins, whose visual modulations originate from an audio mixer, will be juxtaposed with films by Mauricio Kagel, Christoph Doering and Michel Klöfkorn, who cast a critical and ironic look at the impending loss of reality in the face of omnipresent and infinitely reproducible images and data.