Creating and performing live electroacoustic audiovisual compositions: Bespoke tangible objects as catalysts for intermediality

Abstract This paper describes the background and motivations behind the authors’ live electroacoustic audiovisual practice and explores related theoretical contexts. In a scenario where interactions with tangible objects are seen, heard and extended across sonic and visual modalities, this is argued to be a productive strategy that inherently draws on intermediality. The overall goal is to situate live performers and their technologies within an intermedial audiovisual framework and posit tangible modular objects as a central fulcrum around which all other agendas are navigated. Two specific works are considered in the context of Chion’s theoretical audiovisual frameworks, and the authors discuss how these are used as impetus for creating electroacoustic/audiovisual works. Key points include a discussion of DIY instruments in audiovisual contexts and the role of physically present human performers. The article continues by outlining (1) Hex on Data (15’18”), an interactive composition that explores networked audiovisual systems that was presented at the International Symposium of Electronic Art (ISEA) in Brisbane in 2024; (2) Modular Audiovisual Performance Systems (10’04”), as presented at the New York City Electroacoustic Music Festival in 2024. Practical and theoretical undercurrents are discussed, ongoing challenges are articulated and strategies for future work are outlined.