Art could be approached as the art of creating resonant matrixes, the creation of sense triggering fields. Sensual density is the key to emotional power: dynamic range, size and dimension, resolution.
This is even more important in abstract creations, were narrative content is excluded from the facilitation of emotion rendering. Although less though in abstract visuals, any creation always resonates with the inner images of the recipient, based on experiences, including his/her aesthetic background. “World” is realised as images based on sensual information, eventually as idiosyncratic images. An artwork has the potential to trigger or stimulate emotional vibrations, to touch, to create an intended image in approximation. It can be assumed that something primal as the colour blue will be encountered as “cold”. This consideration highlights an interest in primal -and to some degree - self-referring and absolute creations.
An audiovisual field, as I see it, appears in layers and matters, that are drifting in position, shape and size, in temperature and consistence in a 3 dimensional space. It is an image in motion. The artist controls the appearance and the development in time and defines environments and a set of parameters and algorithms to determine qualities. As the recipient I realise the image in simultaneous syn-aesthetical perception of sonic and visual information. And visual information determines qualities not necessarily in superior position.
A strict synchronisation of sound and image is an approved strategy to convincingly link both perceptual levels. This is of most interest in synthesizing artificial aesthetic matter. The obvious syn-aesthetic interdependence of sound and image is the key to establish a convincing image. However, since this has become an ubiquitous achievement, the audience has enough experience to recognise and appreciate distance between sound and image as something intentionally too. The distance between the movement and design of an acoustic space and the movement and design of a visual space determines an encounter in distance or immersion, the relationship between recipient and creation. The more minimal sound or image become, the more general impact will be important. Highly minimal images can still be fascinating and intense if the sound supports the intended message in a strong way and leads to an overall sensually strong statement. If one level disappears completely it may still continue in the inner image.
Typical strategies to embed restructure and re-synthesize real content into an abstract space is slicing, grinding, looping, and filtering: means of reduction, even destruction and resurrection in a form of formalised structure. In other words: the interventions are various ways of equalisation of gestures in time and space. This is a metamorphosis: every input re-appears in a form, which displays formal visions and strategies rather than the original shape and causal context of the used material. Abstract here is not about artificial objects. It is artificial matter, alien space, non-linear time: Nothingness in tension.