ReferencingAlexander Scriabin earlier work Dithernoise performances will explore the possibilities of multi-sensory composition combining colour, light, sound and vibration in cross-modal and intermodal patterns.

Dithernoise's AV performance explores synesthesia and neuroscience withing the realm of live sound + digital video.

Dithernoise creates real-time audio-visual improvisations. The artist react and take action to the sound and video performance in a non-hierarchical and rhizomatic style. The interaction is an open-ended experience. Within the live performance noise as acoustic energy and video as visual flow is fused into a projection and soundscape in a physical environment.

The performance process aims to create a new and synaesthetic experience. Within the performance a reality is created that engages our senses in interpreting a new subjective encounter. As the result an experience can emerge through the performance that can alters our consciousness.

For Simon through the medium of sound, fields can be explored as oscillatory modes, and the synesthetic experience unveil new aspects of reality

This specific audiovisual work and compositions is based on the idea of an interference pattern existing within "the field" or "the fields" which allows the transduction of ideas, the current work is based on ongoing research in neuroscience, synesthesia and study of consciousness.

Simon’s field of work is primarily introspective, he deliberately explores his own synesthetic perception and investigates subjective impressions in the understanding that synesthesia constitutes a form of perceptual sensory-based knowledge and simultaneously an expressive projection of inner cognitive processes.

For Simon sound itself as a medium which allows to gain insight into the perceptual field and mind processes. For the prospective of looking at “fields” through synestesia one would perceive fields directly and instantaneously as subjective synestetic percepts.

Simon does not recognise his work within the context of contemporary art but as exploration of his own subjective experience. Experimentation is intended with and within the medium rather than with technology.

At the same time Simon recognises the neo-futurist tradition and the gap between science and art as the space were his practice finds fertile terrain and space, starting with the aesthetic ideas of the futurist Luigi Russolo “Art of noise”. (Russolo Luigi: 1913) Simon’s use of sound is meant to produce a temporal painting, and fabrics which he use to compose abstract surfaces. At lower density textures turns into rhythms and patterns, and at higher density into smooth surfaces. On an imaginary sound-canvas as a result of intuitive artistic gesture, emergent structures originating from inter-relationship of elements are intended in Simon’s view to be in relation with physiological patterns of activity in the mind elicited by the process of encoding experience.

For Simon the gap between science and art is the stimulating and creative playground for the interplay and transduction between fields, which is obtained within the digital medium mediated by computer and expressed through AV technologies.