Shifting from audio to video documentation turned out to be a vital turning point in the process. Even if the Video Keyboard had not yet been invented, the videos and the subsequent approaches to filming would later reveal a potential that by far exceeded my expectations. Turning on the camera, all of a sudden, elucidated my piano practice. It opened up for a different kind of listening, a visual listening where the image amplified my perception of the sounds, or more precisely, my perception of the relations between movement and sound, between player and piano.
At first, I recorded my playing with a simple setup using a Sony handycam in single point position, filming the pianist/piano in a profile view - a quite conventional perspective and typical of the audience view. However, I would also begin to experiment with a GoPro that was set up to film other perspectives. This led to three multi-camera sessions where my playing was filmed in a more professional set up, investigating various frames and perspectives. It was on the basis of these sessions that the Video Keyboard was conceptualized and slowly began to sprout.