UC San Diego

Considering the breadth of contemporary audiovisual performance practices, there is relatively little discourse examining audiovisual performance from a cross-modal sensory perspective. Most research tends to be framed in terms of sound or visuals. In this document, I undertake a discussion of multisensory perception and audiovisual performance by providing an overview of current research in synesthesia and crossmodal correspondences through the lens of experimental psychology. My investigation situates contemporary visualist Akiko Nakayama, within relevant audiovisual performance histories. Using material gathered from interviewing her about her artistic practice, I provide insight into her embodied understanding of crossmodal correspondences in a performance setting. I also examine crossmodal perception in my own work as an emerging audiovisual practitioner by discussing recent examples —Within Worlds, Epistolary Transmissions, Ember, Live Audiovisual Performance, and Archive. Grounded in collaboration, the aforementioned projects blur boundaries between composition, performance and improvisation through the use of graphic scores with modular components, live audiovisual improvisation and hybrid work which blends aspects of both.