Sound and light both share wave-like properties and we perceive them in both time and space. Coupled with performance, there arises a time-pressured practice that engages the process of being human. The marriage of waveforms of sound and light established in experimental cinema and animation embody an art of movement.

VJing and A/V performances are based on movement- rhythm: pattern, repetition and tempo and measures of dramatic intensity. Rhythm and movement are important commonalities throughout audio-visual performed practices. Movement in film and video is simulated by presenting samples, painted or manipulated stills or captured images, at a fast enough rate that we perceive a smooth, connective movement of shapes and forms in the frame. Rhythm is created by the regular (or irregular) alternation of content and the negation of content over time. 

VJing performances share a potential for dramatic structure. Dramatic structure in narrative is forged along plotlines of conflict, rising action and resolution that build intensity to a climax. Drama is created through intensity. The simplest description of this dramatic shape relies on a major climax and resolution. In sound design, the articulation of time in sound is called the “envelope.” The envelope is comprised of the attack, sustain, decay and release. Envelopes are familiar means for shaping and manipulating sounds in samplers and software over time.   The envelope is also used to create different timbres of or tonalities of sound, for example, a percussive attack of a piano versus a smooth attack of a flute initiating a note.

The prevalence of technology and media now enables the live performance and interaction of sound and image in ways that were not possible fifteen years ago. We will continue to see art and media created and influenced by such practices as VJing continue to expand in the areas of interaction and the participation of the subject, as well as work and systems with more complex and meaningful interfacing with the body.