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by Nam June Paik for the performer Charlotte Moorman (e.g., «TV-Bra for Living Sculpture,» 1969) as well as, for example, the performance «Fractal Flesh» by Stelarc , in which he incorporates himself into an electrical system, are also media stage productions of instrumental sound generation that emphasize the body.
Because the ideal of ‹absolute music› continues to have an effect up to the present day,  what has always been a matter of course in popular music had to be expressly reestablished in art music: The music of Jimi Hendrix or The Who, heavy metal or hip hop would not be the same without the ‹body work› of the musicians.
However, more recent compositions which adhere to the concert and the genre of instrumental music are also experiencing an intermedialization. The playing of instruments concurrent with a live performance, for instance, is being enhanced or visually mirrored by video projections. For «MACH SIEBEN,» Michael Beil made a videotape recording of the pianist Ernst Surberg playing the piece. In the performance, the video projection and the live
interpretation embrace to become the temporal mirror of a symmetrically planned composition. Vadim Karassikov enlarges instrumental gestures, which create sound bordering on inaudibility, on projection surfaces that have been hung above the musicians. In «Eyear» (2003) by Pascal Battus and Kamel Maad, the creation of differentiated drum sounds, which are produced by rubbing stones and sand on the drum skins, are filmed from close up in real time and projected onto a screen. The drum becomes the stage, whose sound occurrences experience an aesthetic visual doubling in the video.
Visualizations accentuate qualities of the musical production, thus taking up elements already existing in the composition and in the playing of the instrument and putting them into concrete form using media-technical means. The basic media qualities of instrumental music production are extant during this