handmade, leaving the using value intact. It is hard to introduce in a fork radical modification to the normal form, experimenting new solution.
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I think the problem is absolutely political. We are insert in a production and consumerist system bigger and bigger, besieged by goods and services that proliferates to satisfy every taste variation. Do we really need new form of expression based only on the aesthetic? I think we need new experiences that invert our course of rules imposed by the society, state of conscience created thanks to the design able to make us imagine undiscovered lands. So maybe this means change the using value of audiovisual performances.
So, I think that the audiovisual performance too has this existent tension. During the last years I assisted to some refined technique shows, but not immersive by the experiential point of view. It is not only a weak point this though. The research can happen in many dimensions, even deepen the image side more than the scenery one. It can delineate with more precision the visions and materialize it with elegance can be an interesting objective. But they are, in my opinion, all occasions in which the aesthetic variation is the only one investigated, without touching the form-type. The refinement of the work becomes the principal objective. Rarer are the performances in which the interdisciplinary influence of the design is used as an instrument to work on something else. And this bring us back to the immersion concept.
In this sense I suspect that, in the magma of interdisciplinary connections we are talking since years, we should start looking at the theatre, because of the studies it brought on the construction of worlds.
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The 4
audiovisual
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and