Résumé
Drawing on Deleuze’s work about cinema (the ‘movement-image’ and the ‘time-image’), this article explores formal and aesthetic resonances with sound-based music, distinguishing between aesthetics of energy, articulation and montage, and aesthetics of contemplation, space and virtual relations. A second perspective is given, focusing on how listening behaviours may impose a ‘movement-image’ or a ‘time-image’ lens through which we could experience and remember a work’s form. This is exemplified with a short analysis of the first section of Chat Noir (1998–2000) by Elizabeth Anderson.