A visually striking book about contemporary live audiovisual practices, resulting from worldwide collaboration.
The starting point for this project is the reigning confusion regarding the terms that describe what is happening today in the wide realm of artistic audiovisual production. Visual music, expanded cinema, VJing, live cinema, and live audiovisual performance are the most important terms here, commonly used and suggestive of their own line of history and shared practices, but not as yet sufficiently defined for theoretical debate.
A group of international researchers and performers in the field have now come together to address these uncertainties. There will be mutual exchange and an invitation for practitioners to contribute, through a survey and panel discussions. The fruit of this collaborative project will be a beautifully designed book publication.
The Audiovisual Breakthrough team
Ana Carvalho is a Portuguese live video composer, performer and editor, and writes on live audiovisual performance.
Eva Fischer is an Austrian art historian, curator, visualist and founder and director of the sound:frame - Festival for Audiovisual Expressions, and writes about VJing/visualists .
Cornelia Lund is a German art historian, media theorist and curator, and writes on visual music . She is director of fluctuating images and co-editor of Audio.Visual – On Visual Music and Related Media (2009).
Adeena Mey is a Swiss-Cambodian critic and researcher, and writes about expanded cinema.
Gabriel Menotti is a Brazilian curator and lecturer at the Federal University of Espírito Santo, and writes on live cinema.
Eva-Maria Offermann is a German graphic designer, working on experimental book projects and poster art. She recently designed the book Design der Zukunft (2014).
Maria Pfeifer, Austrian comparative literature scholar and part of sound:frame festival, created an online survey addressing visual artists in Vienna and all over the world.
We need your help to materialize this printed object, to pay for the graphic designer, the printer, the right paper, and to secure worldwide distribution. For that, you will have a book that enables the reader to grasp all the different aspects of contemporary audio-visual practice and be part of the current discourse.
What are the risks and challenges that come with completing your project, and how are you qualified to overcome them?
The resultant book will have in mind, during its process, the final readers (among artists, curators, researchers, that is, academics and theorists, students from media, visual, sound and performing arts, and others). Although the main content are theoretical texts, they will be enriched with visual examples of works and a very striking design. We would like to make it as appealing as possible so we don't fail in responding to our reader's needs.
Having in consideration that our readers are all over the world, we are thinking carefully on distribution together with the choice of the publisher, so the book is available wherever it is more in need.
Other ways to participate
Taking the project, and its themes, to people who may be interested in it, either through your support on social networks to more personal contact. We will be happy to make presentations and talk about the themes in the book as well as about the project itself.