Audiovisual performance as a process of mapping place and assemblage.

Scores are maps (Benjamin, 2019, p. 120)

'embodied technique' (Spatz, 2020, p.79)

'epistemic engagement with reality' (Spatz, 2020, p. 79)

‘film offers a kind of permanence to subjectivity’ (Keiller, 2014, p. 83)

‘without knowing it, the arts may erode one another’s boundaries’ (Adorno, 1966, p. 382)

‘the object on which and through which I work hence leaves its impression; the action ... shapes my body in this way and that. The work of repetition is not neutral work; it orients the body in some ways and not others.’ (Ahmed, 2006, p. 57)

‘how to configure assemblages in such a way that we can intra-act responsibly and generatively with and through them’ (Suchman, 2006, p. 285)

'an assemblage of elements which were in themselves in response to the conditions’ (Akomfrah on Yale British Art, 2021)

‘More than the individual components, the actual work is the web that links them, the network of synapses which interconnect and cross-pollinate.’ (Constanzo, 2016)

What terrain does the music evoke? (Fisher, 2014, p. 30)

Could we also regard audiovisual performance as a kind of mapping?

What may audiovisual performance offer in its lack of permanence?

‘reorienting our focus on outcomes towards processes’ (Benjamin & Furniss, 2020)

‘what musicians tend to be interested in and good at is using devices in a manner which operates at the edges of or outside the design brief’ (Waters, 2007, p. 3)

‘the deployed knowledge results in ruptures from which unexpected new objects relevant to knowledge emerge’ (Schwab, 2015, p. 122)

a ‘performance ecosystem’, blurring the boundaries between performer, instrument and environment (Waters, 2007, p. 4)

‘non-physical territorial expansion offered by the web’ (Waters, 2007, p. 4)

‘If our maps englobe territories, why bother to journey?’ (Norman, 2016)

‘to move beyond the mundane into uncharted terrain’ (Norman, 2016)

‘a third textural response’ (Mathison on Yale British Art, 2021)

'being in the music as territory’ (Redhead, 2017)

mapping

place

assemblage