This chapter explores the connections between American composer and poet John Cage’s formally experimental lectures on sound and Soviet director Sergei Eisenstein’s theory of audio-visual correspondence. By uncovering Eisenstein’s influence on Cage and situating Cage’s work within a longer history of modernist experiments with music and typography, I illuminate Cage’s interest in theorizing rhythm as a visual quality that was mobile across cinematic, musical, and literary forms. I focus in particular on Cage’s 1959 “Lecture on Nothing,” which is formatted like a musical score, with four measures in each line and twelve lines in each unit of the rhythmic structure. I argue that Cage uses musical typography to guide the reader’s eye rhythmically across the page, transforming blank space into significant silences that prompt us to reflect on the role of the invisible and inaudible in determining the meaning of what we see and hear.