Abstract This article investigates multisensory listening, ecological approaches and embodiment in videomusic and audiovisual performance. Rooted in practice-based research, autoethnography and phenomenology, it explores how interactions between sound, image, bodies and intersubjective encounters within the triad of space, place and environment condition transmodal perception. The study identifies scenophony, affect and imagination as constitutive vectors of immersion, highlighting the porosity between physical sites and virtual environments where sensory boundaries dissolve. Synchresis is analysed as a primary mechanism of audiovisual transmodality, while the process of habitation facilitates the transformation of the technical dispositif into a lived place. Texture is established as a foundational compositional principle to organise sensory experience, using the analysis of Nuées (2016) to demonstrate how these dynamics operate through perceptual deviation and transmodal textures in motion. This research defines audiovisual creation as an ecological practice shaped through fluidity, intersubjectivity and situated modes of inhabiting space.
Myriam Boucher (Thu,) studied this question.