Introduction

This post, being the very first in the blog, will serve as a brief introduction to the purpose of nauté. On one hand, nauté is the name I’m currently using as a live audiovisual performer. But on the other hand, it is more than a stage name. Nauté is also an artistic research project that tries to connect theory and practice in the context of what it was described back in 1970 by Gene Youngblood as “Expanded Cinema”. The cinematographic picture and structure has been expanded (and exploded) during the past half of a century by a multiplicity of new mediums: digital computers, real-time editing and mixing, experimental music and sound, synaesthetic performance, synthetic abstraction and analog intervention.

Some of the currents within this “expanded cinema” have evolved into well established forms and practices such as video art, VJ’ing and live cinema. My own work follows many of the conventions of live cinema, but it is also a search for new elements that can enrich the practice of real-time audiovisual performance.

Another important goal of this project is the creation of software tools to carry out these live performance experiences. Nowadays there are many applications available for “laptop” performance (Arkaos, Max/MSP/Jitter, VIDBOX, Flowmotion, VJamm, Union Livid, VisualJockey, Resolume, Modul8), so I will put forward a justification for developing new ones: first of all, the possibility of precise customization and adaptation to my own aesthetic and expressive needs. Second, the exploration of new ideas and concepts. Third, most of the real-time video performance tools are closed source, so making available the source code of the applications developed in this research could represent a useful contribution to the digital arts community.

Tool creation in the context of the Media Arts it also represents a subject of discussion: can be considered the tool itself a meta artwork, or it is just a mere medium to channel the message of the artist? When and how does this distinction take place?

Finally, as a live digital performer I will investigate the different spaces where the practice of real-time audiovisual performance takes place. I’ll look at the artistic and social implications of these settings, specially in relation to the movement back and forth between more traditionally accepted spaces like the art gallery and the theater stage.

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