To the top

Page Manager: Webmaster
Last update: 9/11/2012 3:13 PM

Tell a friend about this page
Print version

Audiovisual Constructions… - University of Gothenburg, Sweden Till startsida
To content Read more about how we use cookies on

Contact form


Note! If you want an answer on a question you must specify your email address

Audiovisual Constructions: Material Interrelations in Live Rock Performances

Doctoral thesis
Authors Olga Nikolaeva
Date of public defense 2019-06-14
ISBN 978-91-7346-989-0
Publisher Göteborgs universitet
Publication year 2019
Published at Department of Cultural Sciences
Language en
Keywords live performance, audiovisual, materiality, scenography, screen, screen visuals, sound, body
Subject categories Performing Arts, Cultural Studies


This dissertation examines and analyzes the material interrelations in audiovisual constructions of live rock performances. It explores the interrelations that take place among four key modes of a live rock performance’s material modality, namely: the musicians’ bodies, screens, screen visuals, and sounds. According to the analysis conducted in this dissertation, an audiovisual construction is understood both as a process that describes the confluence of a performance’s modes and as a momentary result of their interrelations that creates the performance as a whole. Rather than exploring the ways audiences perceive performances, the central focus in this dissertation is to investigate the relations and potentialities of the performance’s modes by focusing on the assemblage and display of the audiovisuality of three selected case studies. The three case studies that form the empirical material for this research study each consist of a song performed by a rock music band. The specific performances are: “Angel” by the British band Depeche Mode, “The Handler” by the British band Muse, and “Óveður” by the Icelandic band Sigur Rós. Relying upon the concepts of performative materiality (Johanna Drucker), the vitality of materials (Jane Bennett), and an understanding of a live rock performance as a scenographic spectacle (Joslin McKinney, Scott Palmer), this study explores the perspective of the materiality’s performative potentialities, which emerge and develop in the audiovisual construction. The analysis of each particular case study reveals that processes of audiovisual construction create conditions under which a performance’s modes continuously activate and renegotiate each other’s individual material potentials, while creating new forms of scenographic assemblages of vital materialities. Furthermore, understanding the material potentials of modes gives rise to new considerations of the roles these modes play in live rock performances.

Page Manager: Webmaster|Last update: 9/11/2012

The University of Gothenburg uses cookies to provide you with the best possible user experience. By continuing on this website, you approve of our use of cookies.  What are cookies?