Am reading and enjoying Michel Chion's book Audio-Vision, a treatise on sound in cinema by a critic, musician, and former student of musique concrète composer Pierre Schaffer's. A few notes on pages 136-7 [bracketed language is my paraphrasing]:
Rhythm...is an element of film vocabulary that is neither...specifically auditory or visual.
...the phenomenon strikes us in some region of the brain connected to the motor functions....
[either the eye or ear could be the path to that region]
My basic thesis on transsensorial perception applies [also] to perceptions of texture and material as well, and surely to language...
Transsensoriality has nothing to do with intersensoriality, as in the famous "correspondences" among the senses that Baudelaire, Rimbaud, Claudel and others have celebrated.
...the senses are channels, highways [as opposed to "territories or domains" which have specific sensations assigned to them, such as color in the eye or pitch in the ear].
When kinetic sensations organized into art are transmitted through a single sensory channel...they can convey all the other senses at once. The silent cinema on the one hand [say, in a use of fluid and rapid montage] and musique concrète on the other illustrate this idea. Concrete music, in its conscious refusal of the visual, carries with it visions that are more beautiful than images ever could be.