AVR010 makes music and image at the same time, live, from code. The Buenos Aires-based Argentine artist — Emilia Monin — performs audiovisual sets in which real-time generative visuals and electronic music are built simultaneously on stage, neither element preceding or serving the other. Working with TouchDesigner for visual synthesis and Ableton for sound, she develops a glitch-inflected, data-driven aesthetic that has placed her on stages at MUTEK.AR and international electronic music and digital art festivals. She is part of the Amplify DAI network and a graduate in Music and Technology from Universidad Nacional de Quilmes (UNQ).
Artistic Practice
The defining condition of AVR010’s practice is simultaneity. Her performances do not sequence audio and visual elements — they generate them together, in the same moment, from shared data streams that drive both synthesis and image in parallel. This is not a technical distinction. It is a claim about what kind of work is being made: not a concert with accompanying visuals, not a video piece with a soundtrack, but a single audiovisual object that has no primary medium.
Her aesthetic language is rooted in glitch — the productive failure of digital systems, the artefact as compositional material. Rather than correcting signal degradation or rendering errors, she builds them into the formal vocabulary of the work. A corrupted frame, a buffer overflow rendered visible, a synthesis artefact left in the mix: these are not accidents to be smoothed over but evidence of the system working, which she treats as an aesthetic condition. This positions her within a longer lineage of glitch art and noise music, while her specific combination of tools and performance context is her own.
Data drives the work in a literal sense: parameters from her audio processing feed into visual generation, and visual states can modulate synthesis. The system is not pre-composed in the sense of a fixed score — it is a constructed environment of possibilities within which she improvises. Live performance is therefore not the presentation of a finished work but the site where the work is made.
Her earlier practice, documented on the EP Forget about this record (Isla Visión, 2020), established her credentials as an electronic producer working with field recording, analogue synthesis, and cinematic sampling. The live audiovisual performance dimension developed from this, extending the studio practice into a real-time context where image became as immediate a material as sound. Her collaborative project PRIFMA — with Mercedes Invernizzi Oviedo and Laura Fuchs — expanded this further into installation territory, combining live electronic music with sculptural luminary objects and a large LED screen, performed at MUTEK Montréal, The Wrong New Digital Art Biennale, and Somerset House Studios (London, 2019).
Tools and Methods
TouchDesigner is her primary visual environment — a node-based real-time visual programming platform used across the fields of live performance, installation art, and interactive design. It allows her to build generative visual systems that respond to audio inputs, external data, or internal logic at the frame rate of live performance. Its architecture is well suited to the kind of data-driven, parameter-linked visual synthesis that her work requires: changes in audio amplitude, frequency analysis, or MIDI signals can be mapped directly to visual parameters — colour, geometry, rate, distortion — without conversion through a separate system.
Ableton Live handles the audio side, providing a performance environment where loops, synthesis, and sample playback can be manipulated in real time with the same improvisational logic as the visual layer. She uses it less as a sequencer and more as a performance instrument — the set is not played back but constructed during the show. This approach is consistent with her rejection of genre labelling: the absence of a fixed form allows the material to move between deep house, ambient, industrial noise, and experimental composition within a single performance, following the logic of the moment rather than a predetermined arc.
The glitch aesthetic that runs through her work is not produced by specific glitch tools but emerges from the way she handles — or deliberately mishandles — signal routing, buffer management, and rendering parameters within both systems. Understanding how and when a system fails, and designing performance conditions where those failures are likely to occur and interesting when they do, is the technical skill underlying the aesthetic.
Selected Works
Forget about this record (Isla Visión, 2020) is her debut EP — three tracks produced between Buenos Aires (2018) and Berlin (2018–2019), documenting a geographic and sonic journey through field recording, analogue synthesis, and cinematic sampling. The record is a map of a practice in formation, and its methodology directly underlies the live performance work that followed.
PRIFMA — developed with Mercedes Invernizzi Oviedo and Laura Fuchs — is her most documented collaborative project: live electronics combined with translucent sculptural objects that simulate crystal formations, intervened digitally while a large LED screen hosts the live audiovisual mix. It was performed at MUTEK Montréal, MUTEK Argentina, The Wrong New Digital Art Biennale, the Amplify DAI festival at Fundación Telefónica (Lima, Peru), and Somerset House Studios (London, 2019). In 2021, AVR010 was selected by the INAMU (Argentine National Music Institute) through a national open call for Artlab’s Artist-in-Residence programme in collaboration with British Council and Amplify DAI.
Her MUTEK.AR appearances situate her within the Buenos Aires digital arts and electronic music scene that connects, through that festival network, to MUTEK editions in Montréal, Barcelona, Mexico City, and Santiago. This is the circuit within which her audiovisual live practice has developed and continues to be presented.
See also: Amplify DAI resources on live audiovisual performance and generative art.
