Keele Research Repository

Composers of Electroacoustic Music worldwide seem to be drawn almost instinctively to a new, exciting media which combines electroacoustic sounds with the moving image, captured with digital cameras, processed with off‐the‐shelf commercial software or specialized applications. The reason partially lies on a technological convergence: in the solitary reclusion of the music studio the enabling technology for digital audio‐video experimentation reside in the same workstations used for modern computer music endeavors. It is an opportunity that has been staring us in the face for a few years. With the aesthetic and technological convergence came also the realization that the combination of the two media yields tremendous potential for a momentous development of the Electroacoustic idiom. Depending on the compositional strategies, digital artists can explore the relationships between the phenomenology of the objet sonore and that of the moving image, towards the definition of what we could may call objet audiovisuelle.