This thesis investigates how visuals in live audiovisual performances can emerge as an extension of sound rather than function as an independent or dominant layer. Starting from the premise that contemporary stage productions risk becoming technical spectacles, where visual intensity overrides the listening experience, this research proposes a shift toward a perceptually grounded approach.

Drawing from theories of multimodality, cross-modal perception, and post-Schaefferian sound studies, the thesis introduces the concept of extended listening—a mode of perception where sound is not only heard, but embodied, interpreted, and translated into visual form. Through an analysis of sonic material, including its intrinsic properties and associative dimensions, sound becomes a generative source for visual creation.