The American Medium Sound Series is a project conceived and curated by Arjun Ram Srivatsa and Roy Werner. The series will provide a deep listening environment and discussion platform exploring the parallel progressions of contemporary sonic and visual practices.
Curator's Statement:
In recent years, sonic and visual art have taken advantage of similar technological advancements. The majority of contemporary work is created on same all-encompassing hardware and is thus born out of the same artist/tool relationship. Eclectic computer software such as Max/MSP and Processing is used interdisciplinarily, catering to neither medium in particular. There exists a great deal of cognitive harmony created through this technical symbiosis, begetting common tropes traceable through both mediums. Further, through internet-based promotional channels, the consuming population of eyes/ears has become one overarching group. In this sense, contemporary sonic and visual art have and continue to progress in-parallel more so now than in past decades. However, as the significance of distinction between mediums becomes less relevant, there still exists much cognitive dissonance. Although sonic artists in the digital medium are using the same platforms and processes to create their work, there is a lack of understanding pertaining to their innate affiliation in contemporary culture.
The overarching concept of the American Medium Sound Series is to articulate and shed light on said harmony present in contemporary sonic/visual work to further an understanding of progressive sound. The artists involved in this series embody this interdisciplinary nature, all creating work that attempts to shift the art-world constructs of separation of media. Each event will be structured as a performance followed by a discussion between the performers and audience to highlight the artists process, concept, and perspective on the medium(s). Performances will be taken in by the audience via a “deep listening” environment, a setting which requires audience attention and critical interpretation. This environment will help to cultivate a sense of appreciation for the progressive nature of experimental electronic music. This format was taken into consideration in the selection and grouping of the participating artists, a group which will both lend itself well to these guidelines and present some of the most innovative contemporary work in the field.
The selected artists can be organized into three basic, broad categories in terms of their work. The first category of artists are multimedia oriented, those who embody the aforementioned thoughts of the series through simultaneous audio and visual outputs. Secondly, the series will feature artists whose work delves into an academic understanding of sonic art, both referencing established structures while also progressing the medium into new territories. The final category consists of artists experimenting with the concept of interactivity in their performances. These artists create systems that necessitate audience participation to succeed as functioning pieces of music.
Curator's Statement:
In recent years, sonic and visual art have taken advantage of similar technological advancements. The majority of contemporary work is created on same all-encompassing hardware and is thus born out of the same artist/tool relationship. Eclectic computer software such as Max/MSP and Processing is used interdisciplinarily, catering to neither medium in particular. There exists a great deal of cognitive harmony created through this technical symbiosis, begetting common tropes traceable through both mediums. Further, through internet-based promotional channels, the consuming population of eyes/ears has become one overarching group. In this sense, contemporary sonic and visual art have and continue to progress in-parallel more so now than in past decades. However, as the significance of distinction between mediums becomes less relevant, there still exists much cognitive dissonance. Although sonic artists in the digital medium are using the same platforms and processes to create their work, there is a lack of understanding pertaining to their innate affiliation in contemporary culture.
The overarching concept of the American Medium Sound Series is to articulate and shed light on said harmony present in contemporary sonic/visual work to further an understanding of progressive sound. The artists involved in this series embody this interdisciplinary nature, all creating work that attempts to shift the art-world constructs of separation of media. Each event will be structured as a performance followed by a discussion between the performers and audience to highlight the artists process, concept, and perspective on the medium(s). Performances will be taken in by the audience via a “deep listening” environment, a setting which requires audience attention and critical interpretation. This environment will help to cultivate a sense of appreciation for the progressive nature of experimental electronic music. This format was taken into consideration in the selection and grouping of the participating artists, a group which will both lend itself well to these guidelines and present some of the most innovative contemporary work in the field.
The selected artists can be organized into three basic, broad categories in terms of their work. The first category of artists are multimedia oriented, those who embody the aforementioned thoughts of the series through simultaneous audio and visual outputs. Secondly, the series will feature artists whose work delves into an academic understanding of sonic art, both referencing established structures while also progressing the medium into new territories. The final category consists of artists experimenting with the concept of interactivity in their performances. These artists create systems that necessitate audience participation to succeed as functioning pieces of music.