The 1960s were not only the time of the Beatles, the Rolling Stones and the hippies, but also of new forms in art: happenings, Fluxus, neo-Dadaism, video art, to name just a few. Pop and art influenced each other, boundaries became blurred and even consistently crossed by many of the protagonists of the time. This chaotic, extremely innovative spirit of optimism lasted deep into the 1970s and was to have an impact on the present day. Border crossers of all kinds marked this eventful time. Conrad Schnitzler (born 1937) and Karl Horst Hödicke (born 1938) - both long since part of the official art canon - were multifunctional artists; they painted, they performed, they sculpted, they made films, and they made music, always on the edge of what was "allowed", but mostly beyond what was considered "modern" in art at the time. Schnitzler, Hödicke and many others defined a completely new avant-garde. How, when and where Schnitzler and Hödicke met is not known. But it is not surprising that Schnitzler made the soundtrack to Hödicke's film "Slow Motion" (1976). Both artists were cut from the same cloth, for both there were boundaries only to cross them. The film "Slow Motion" consists of 14 sequences. For each of these sections, Schnitzler composed music that not only followed the minimalist imagery, but emphasized it in an ingenious way. Schnitzler's musical and Hödicke's cinematic approach were absolutely compatible. "Slow Motion" is an important document in Schnitzler's oeuvre because, on the one hand, it fits seamlessly into the many other releases of his music, but on the other hand, it shows the artist as an equal and constructive co-creator of an experimental sound film. The fact that Schnitzler retained his aesthetic independence in this project is what makes "Slow Motion" so particularly worth listening to. And it is certainly a document of the times.