There it is… my first paper. Delivered to the Australasian Computer Music Conference in August 2009 and published as part of the proceedings.
Three months on I see it as not so much a proof of concept as it is an evocation of the reason for a program of research on the nature of audiovisual performance in the now.
It is a confused document, lurching through the centuries making disparate links here and there between different media forms and approaches. Well this is the point!
At the moment we have an excess of example with few historical threads to link the divergent approaches.
Yet the grant funded artist uses fundamentally similar tools as the underground noise musician.
What similarities exist between Peter Greenaway’s live Tulse Luper (remix) project and what Scott Sinclair is achieving through his Company Fuck performances?
I’m going to delve into both in further blog posts – don’t want to peak too early.
Just thought i’d say for now – these new opportunities are riding on centuries of live art and decades of performative research. As the technology becomes more utilitarian, so the approaches to the use of technology in performance become more interesting. This is where I believe the story is. There is little “new” about any of this, but now many more artists are encouraged to develop a synchresis of sound and vision, a dual mode dialogue that may hopefully assist in doing the one thing that artists throughout the centuries have attempt to do – communicate.
In my solo AV practice i’m learning how to do this more effectively – and I plan to make many mistakes – generate all the tedious and pointless novelty examples of AV inclusion possible – in order to strive for a greater unity of expression. Learning to fail and learning to learn from that failure.
Just before signing off on this quick (and incredibly late) post – I’d like to say that the following video is a pretty evocative example of AV that is both engaging and embodied while demonstrating a level of practiced skill that used to (in theory) signify the value of a live performer. Something that Quartz Composer patches don’t tend to really bring to a performance.
How to design a digital media instrument with such expressability?