This artistic research project considers the potential of the moving image as a tool for developing situated knowledge and of its material conditions in terms of experience. It takes as its starting point how devices that produce images, such as cameras and microphones, invite their users to engage with their surroundings by enabling a network of relationships (Røed, 2014). I develop that idea and explore the capacity of video based art for enabling audio-visual ecologies through movement, transience and body, in other words elements of performance characteristic to site (Kwon 2004, Kaye 2000).

By considering how the moving image might be engaged as a form of listening, specific environments are explored in order to create artworks that might operate across any dialectic opposition between experience, mediation and representation as a form of ecology of particular sensitivities, presence and place-making. By combining certain practices of site-specific art (performance), sound art (field recording, transposing the field), early video art (performance, materiality, inquiry), and cinematography (movement, gesture), I experiment with the conditions of field recording as methods of inquiry, and approach the recording situation as gestures of listening and tuning, transient temporalities, and relationships between sound, image, body, (custom made) devices, and ethics.