​Through his artwork, Carsten Nicolai overcomes the segregation of forms of sensory perception. Sound is made visible, light frequencies are heard. Sound, light, time, and space are the cornerstones of the work of the artist, who is making neither a political statement nor yet another self-reflexive discourse about art. Instead, he tries to investigate and penetrate the frontiers of perception, of which we have no conception but which do seem to have an effect on us.

Nicolai is experimental in his art in a scientific sense. He formulates precise conditions, clears away that which is unnecessary, defines environments in which his artworks can grow: sometimes through the influence of the public, sometimes through moments of disturbance, blurring, or chance in the system. Self-organized processes – for example, the formation of snowflakes in the air due to impurities and disturbances – fascinate him. Through the formation of self-organization and chance, Nicolai can step into the background as an artist and avoids the personification of his artwork. Such processes speak for themselves.

Carsten Nicolai began with painting – first, completely classic: oil on canvas. Then, however, with the exploration of new artistic possibilities, the search also began for other materials that would suit his objectives. The conventional canvas was replaced by translucent polyester frameworks within which the arriving light breaks and whereby the color in the picture is produced. Liquid-filled basins placed on loudspeakers through which digitally worked sound samples are played reproduce frequency patterns on their surfaces. Through the explosion of a gas mixture, the speed of sound at 334 meters per second is made visible in a glass tube. On his label “raster noton”, the artist publishes under the alias “alva noto”. His sound work is designed on an editing program that does not work in real time and therefore the sound must first be visually drafted in order to be heard. Nicolai considers his work in sound as visual work, he does not make music but instead calls himself a visual composer.

The artist, born in Karl-Marx-Stadt in 1965, has achieved great success with his work. Numerous prizes, almost twenty solo exhibitions in cities ranging from Berlin to Tokyo, Biennales, group exhibitions, as well as alva noto performances in the New York Guggenheim, Centre Pompidou, Kunsthaus Graz, and the Tate Modern. Although his work is appreciated worldwide, he is more concerned with those details, fragments, or parts in which – following the thesis of philosopher Marcello Viccini – all the information of the whole is retained.

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from Demystification Committee

The Demystification Committee is a framework for art and research chaired by Oliver Smith and Francesco Tacchini.

‘Selected Network Studies’ collects audio/visual experiments carried out by the Network Ensemble, a musical duo transforming wireless communications network into sound in real time using custom-made machines.
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'Selected Network Studies' are released on an SD card via the italian label Rizosfera. This is a short edit of the audiovisual material found on it.

​https://networkensemble.bandcamp.com/

​A multimedia project by Luigi Scotti and Teresa Águas.

It has the objective to explore the sound
giving to the sensorial organs
not only a passive absorption but
a true organic conscience
of what the sound provokes interacting with themselves.
It is the augmentation of all our senses don't perceive​;

​11.
Perception of the Absolute.
Respect the void and its impossibility:
Dignified vanity of essence.
White in the white.
Sufficient car

​Iranian electronic musician Porya Hatami has no enthusiasm for making you move. 

Some portion of a strong and prolific Iranian underground electronic scene, his organizations involve a hazy zone between surrounding music and sound workmanship. They consolidate field recordings with exceptionally handled electronic sounds; tracks much of the time journey happily past the 10-minute stamp. 

He's been shockingly productive; since 2012, he's put out no less than nine solo discharges (counting full-lengths and two or three 3" CDs), two arrangements of remixes of his work by others, and numerous joint efforts with craftsmen in different nations, including Arovane, from Germany, and Darren McClure, who lives and works in Japan. 

It's conceivable to hear echoes of everything from Tangerine Dream to Oval to Bernhard Günter in Hatami's work. A piece might be worked around sensitive piano laid on delicately peaceful synths, or it might comprise of layered crackle, with scarcely noticeable electronic heartbeats step by step ascending out of sight. At the point when sounds from this present reality enter Hatami's inventive universe, they're controlled practically to the point of being unrecognizable.

Hatami's latest realise is Organism, his fourth joint effort with Arovane. A gathering of 19 tracks, some as short as 30 seconds and others in the six-minute range, it makes an inauspicious environment brimming with stereo-panned pops and crackles, and dim conditioned zooming murmurs. It resembles the sound outline from a blood and guts film set on a spooky spaceship; on earphones, it'll make them look apprehensively behind you.