Audiovisual art

The visual arts are the arts that are expressed by means visuals and sound simultaneously, producing shows that the human image is communicated not live face to face with the public, but by machines. They include sound and visual arts, video dance, film and television, for example, being works of this art a film, a television fiction story, a music video or a commercial.advertising, as well as more abstract works of art, such as video art, sound sculpture and sound installations in general, and so on.

Audiovisual art is the exploration of kinetic abstract art and music or sound set in relation to each other. It includes visual music, abstract film, audiovisual performances and installations. Audiovisual art shares more with the performances than with any traditional definition of a musical concert. Indeed, the idea of variable durations, improvisation and the stretching of structure almost beyond recognition, of a sonic environment outside of time. Audiovisual art performances have evolved and benefited from bespoke venues designed expressly for the experience of listening. Part of the struggle with the definition of sound art is driven by a pervasive sense of hier­ar­chy in which art is supposed to sit somewhere above music, performance, anthropology or cartography. They may be related to other art disciplines, especially the performing arts, such as video dance, and the visual arts.

Audiovisual art is a Video art with audio, art works about sound, art made by composers, sound sculpture and music made by artists: any of these could be embraced or rejected as sound art depending on curatorial agenda, personal preference or taxonomic rigour, yet defining sound art is a tricky and difficult task.

Overview
The book Art and the Senses cites the Italian Futurist artists, Fortunato Depero and Luigi Russolo as designing art machines in 1915 to create a multisensory experience of sound, movement and colour. In the 1970s Harry Bertoia created sound sculptures of objects to have a multisensory effect, exploring the relationships between the sound, the initiating event and the material properties of the objects. In an example with overt musical connections, The Oxford Handbook of New Audiovisual Aesthetics cites musician Brian Williams (aka Lustmord) as someone whose practise crosses audiovisual art and mainstream media, where his work is “not traditionally ‘musical'” and has “clearly visual aspects”.

The development of audiovisual art, roots in Futurism, the importance of Fluxus in the 1960s, and the accelerating evolution and often interchangeable identities of sound, noise and music over the last half century – while inevitably devoting considerable space to arguing for the inclusion and exclusion of various categories. It would seem that sound art is still so malleable that fulfilling the criteria of the moment can be an end in itself: if something simply has an audio component it may qualify, which is a little like celebrating as painting anything upon which paint can be found.

The ‘liberation’ of sound through its ready portability is a further sign of its dissolution. Manifest artefacts of sound and music are vanishing: cds, tapes, records and a host of fleetingly innovative alternatives are endangered species. The rituals attending our use of sound invest it with an identity that is both intellectual and physical.

Audiovisual art reducing sound to genres and categories and concentrate instead on nurturing it as a medium, allowing it the benefits so long bestowed on the visual arts: auditing environments in which the chaos of life is suspended for long enough to allow a direct encounter with the work and the chance to grasp its meaning, intention, identity and our relationship to it. Crucially, galleries need to be designed and run with an understanding of the behaviour and apprehension of sound.

The very fact that audiovisual art are distinct zones of visual separation from this quotidian chaos enables art and our relationship to it. Let us cultivate sound in zones Audiovisual art shows nurture its fidelity and our attention, and create environments, provide the key needed to reintroduce a bodily, cultural awareness of all sound.

Performing arts: performing arts and audiovisual arts
Both audiovisual and performing arts are spectacular arts. As for the topology of the show, the fundamental difference between the audiovisual and performing arts is that in the latter the human being actually participates in flesh and blood, live, as is the case with the lyric., dance, theater, etc.

In the audiovisual arts, on the other hand, there is a “ghost scene”, which means that the viewer has access to all angles of perception if he wants to. Communication is different because mechanical procedures guide the viewer at all times, allowing him to see a detail of a drop of sweat dripping or not to hear the roar of a closet lying on the floor, for example. The creative process is very different, both in terms of the performers or actors and the rest of the company or team. In the performing arts the place of presentation influences the creation of a show, among other things because the distance between the stage and the room can make you lose communication skills.

Nowadays, audiovisuals are often present in many performing arts shows.