Every so often someone asks me to define one or more aspects of my work. This may take the form of a lecture, proposal notes or a chat over beer at the local.
This morning, a question was put to me regarding the integration of audio and visual material in real time performance. Having, without trumpeting my own horn too much, I believe contributed something towards the evolution of improvised video and sound performance in Melbourne, I felt it opportune to state my case, and in some respects clarify for myself what it is that makes my sonic perception tick. Here goes…
The integration of audio and visual components has been integral to my work since the mid-80s. In those days, physical performance in tandem with minimal lighting and projections was central to the surrealist aesthetic I had conceived in largely acoustic based works. From the mid-90s I began a series of collaborations with video artists exploring real-time improvisation of sound and vision, utilising techniques derived from jazz and electroacoutiscs.
This resulted in a body of work that saw the integration of motion-control tools, development of context specific visual/sound instruments, large-scale multi-projection performances and more recently, a completely overhauled approach relying more on artistry, aesthetic resonances and intuative skill than reliance on technology.
The integration of these two disciplines relies now more on technique, composition and communication than it does on sophisticated and often expensive technologies.