Early in the history of film, it was discovered that when music was matched with a piece of visual imagery it had a powerful influence on how it was perceived and received by the human mind. Films with highly emotional, majestic scores were found to have a greater emotional impact on their audience than similar scenes with no music, or even silence. William S. Burroughs, always an experimenter with the art of montage, was one of the first pioneers to put random clips of film to different unrelated music, creating the art of the synchronicity. The concept was an integral part of the psychedelic scene of the 1960s and eagerly embraced by bands like Pink Floyd who are still a key part of one of the mother of all syncs "Dark Side of the Rainbow".

     Part of the appeal of synchronicities is that it allows the viewer a more active degree of participation in the viewing experience. Instead of just sitting there passively, you get to take part in what you see, by setting things up, by trying new combinations yourself. It's kind of subversive that way, because what you see is not necessarily what was originally intended as the viewing experience. It allows fans to reclaim participation in what they're seeing and hearing. It is truely the simplist form of multimedia experience.

The Webster Definition:

music (myoo'zik) n.1 - The art of organizing tones or sounds with respect to time, to form, an aesthetic whole.

art (art) n.1 - The ability of a person to arrange or adapt natural things or conditions to his or her uses. adj. 

synchronistic (syn-chro-nis-tic) .adj - synchronism of events that appear to be connected but have no demonstratable casual relationship.