The Clavilux, from a Danish-born singer turned light artist, was an organ of light: banks of projectors, filters, and hand controls with which Wilfred performed lumia for seated audiences, beginning with a 1922 New York recital and touring internationally after.
Unlike color organs, the Clavilux answered to no score of notes; Wilfred composed for light directly, with form and motion as the material. Later home models and self-contained cabinets ran recorded mechanical performances, generative art avant la lettre.
Surviving units still run in collections, their tempos glacial and hypnotic, the strongest historical argument that visuals need not chase music to hold a room.