Draft:Live audiovisual performance
Submission declined on 23 April 2024 by Kline (talk). This submission reads more like an essay than an encyclopedia article. Submissions should summarise information in secondary, reliable sources and not contain opinions or original research. Please write about the topic from a neutral point of view in an encyclopedic manner.
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Submission declined on 22 January 2024 by 1AmNobody24 (talk). This draft's references do not show that the subject qualifies for a Wikipedia article. In summary, the draft needs multiple published sources that are: Declined by 1AmNobody24 6 months ago.
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The term "live audiovisual performance", also known as live visual,[1] refers to contemporary artistic expressions involving the real-time manipulation of both sound and image.[2] This creative form is characterised as time-based, media-driven, and performative. Live audiovisual performance is intricate because it lacks a specific style, technique, or medium. Instead, it encompasses a collection of shared elements that collectively define a group of artistic expressions and specific works. These may not neatly align with any singular category within the overarching concept.[3][4][5]
Since the inception of these practices, there has consistently existed an interconnection between sound and image. This connection may manifest explicitly at times and remain more intuitive on other occasions. An inherent aspect of live audiovisual performance is improvisation, which is implicitly embedded in the terms "live" and "performance." The ability to improvise is made feasible by the use of real-time production technology. William Kaizen elucidates this paradox by highlighting the role of video intervention in recording, leading to the emergence of 'the live' in live television. This transformation of liveness evolved into both an ideological and technological imperative.[6][7]
The immediacy associated with television, propelled by cameras, mixers, and software derived from television equipment, has enabled the simultaneous capture and presentation of actions as they unfold. Realtime, as a technological capability, seamlessly combines presence with the manipulation of sound or image source material.
The artists practicing live audiovisual performance are usually active in music, cinema, dance, or media arts. Including Robert Henke, Alva Noto, and Ryoji Ikeda.
References
[edit]- ^ "What are Live Visuals? | DocOptic.com". DocOptic. Retrieved 2024-01-22.
- ^ Carvalho, Ana (2015), Crisp, Virginia; Gonring, Gabriel Menotti (eds.), "Live Audiovisual Performance and Documentation", Besides the Screen: Moving Images through Distribution, Promotion and Curation, London: Palgrave Macmillan UK, pp. 162–176, doi:10.1057/9781137471024_9, ISBN 978-1-137-47102-4, retrieved 2024-01-22
- ^ "THE AUDIOVISUAL BREAKTHROUGH" (PDF).
- ^ Basica, Constantin. "Audiovisual Performance". MUsic Technology Online Repository. Retrieved 2024-01-22.
- ^ Cooke, Grayson. "UDU: A Live Audio-Visual Performance". generativeart.com.
- ^ Kaizen, William (2008). "Live on Tape: Video, Liveness and the Immediate," in: Tanya Leighton (ed.), Art and the Moving Image. Tate Publishing/Afterall.
- ^ Schacher, Jan. Live Audio-Visual Performance as a Cinematic Practice - The Cinematic Experience. Sonic Acts Press / Paradiso.