Audiovisual performance: creative processes of sound and image in real time

Abstract

The article investigates the creative processes of the audiovisual performance Chromatograma (2024), collectively produced by the authors of this publication and developed within the ongoing research “Audio-Visual Interfaces: Techniques and Poetics for Audiovisual Performance” (2024–2026). Drawing on the methodological approach of Process Criticism, proposed by Cecilia Almeida Salles (2011), it seeks to explore tensions among technology, poetics, and artistic practice, revealing a collective creative trajectory marked by conceptual, aesthetic, and operational impasses. In this regard, the study highlights the inseparability of technical and aesthetic domains in the work’s conception and points to the challenges posed by the increasing technicization of the field of audiovisual performance, articulating specialized literature (Moran, 2020; Alves, 2020; Roscoe, 2019; Bastos, 2016; Carvalho, 2012) with the critical debates around art and technology – especially drawing on the readings of Arlindo Machado (2007) and Edmond Couchot (2003). By exposing the conflicts between art and technology inherent to the specificity of this artistic doing, the article aims to contribute to the critical debate on ways of producing and thinking about contemporary audiovisual performance as a territory for experimenting with live sound and image relationships.