Although it was known in France as diaporama (slideshow)[1] in 1950, its current name of audiovisual art is truly accepted in many fields, such as in some institutions in the United Kingdom, like photo clubs and others with a high artistic level, as the Royal Photography Society, among others.
From this perspective, it is also possible to develop a theory about the audiovisual art, thus defining it as the language that combines still images (pictures with sound), in a montage that by its condition is displayed as in the cinema, in a room designed for that purpose.
Moreover, from another point of view, the prehistoric man could be considered as the first audiovisual spectator of humanity, who contemplated the static skies and the landscape in amazement, along with the sounds of nature coming from the animals and the storms.
Much later, Louis Daguerre and Charles Marie Bouton were the first creators of the panoramas, i.e., large lounges with painted curtains, on which the light was projected in a zenith shape to give the illusion of reality.
Another reason that justifies the audiovisual concept as an art is the use of the music that, represented accordingly with the still images, creates a new aesthetic expression by setting a different path, perhaps fairly unexplored, further accentuating the attitude of contemplation.
Considering these principles, the audiovisual montage may refer to two aspects: the intrinsic one, which alludes to the aesthetic connection of a shot with the next one, thus obtaining different forms, such as the analogy, the contrast and others.