On its 50th anniversary in 1979, the Museum of Modern Art coined the term “sound art” in the title of an exhibition of three women artists. They pioneered, in the words of visionary curator Barbara London, “the combination of the auditory and the musical.” visual. This reinforced the emphasis on sound that MoMA debuted his 1969 Moog synthesizer, a platform for the likes of Aaron Copland and John Cage.
MoMA is championing sound art once again. This time, it’s a bold, interactive, and overwhelmingly online initiative. “Sound Machines” presents five of his artworks that utilize new technologies to create sonic experiences. This was made possible in collaboration with Feral File, a digital art platform that prides itself on being by artists, for artists.
Each of the five pieces is actually a series of 30 pieces, which will be minted in Ethereum and put up for auction starting March 14th. Artists will receive 60% of the proceeds, and Feral File and MoMA will split the rest.
The suspect, Daniel Brathwaite Shirley, was immediately arrested. cancel it yourself (2024), an unforgiving choose-your-own-adventure experience that forces users to announce their moral failings and suffer being “cancelled.” Users go through a cycle of coming out as themselves in public to a ferocious set of glitches and gifs reminiscent of ’90s HTML. The soundtrack changes subtly to match the story. Melancholic honks sound after users post criminal acts on social media. Distorted groans as the backlash scrolls catastrophically.and automatically adjusted acapella Vocal when user posts apology music video– with Ukulele, of course.
Yoko Ono sound piece V (1996/2024). Courtesy of the artist and his Feral File.
Holly Herndon and Matt Dryhurst revive the imitation game invented by Karl Orff and Gunhild Keetman to teach children music in the 1920s. play from memory (2024). Just as Orff and Keetman used prompts, games, and symbols, Herndon and Dryhurst created a machine learning model that conjured both soundscapes and accompanying images. Their cavernous world, conjured up in dark ink, is filled with wondrous children and their fantastical instruments.
The two works offer different approaches to audience participation.Yoko Ono brings her back sound piece V (1996) Toward the Digital Age. The original poem-cum-prompt reads, “Record the sounds of your friends laughing together,” and participants will be able to add their own recordings to their creations, thereby creating “an ever-evolving archive of sound.” ” will be able to be created.
0xDEAFBEEF looks back to the calling card as a precursor to digitized tokens and plans to attach a live call-and-response performance to the image of a fictional calling card.
0xDEAFBEEF, Public phone, 2024. Courtesy of the artist and ferrule files.
The blank space of the blue sea is the backdrop for the work of American artist Tommy Martinez, who performs sound pieces. Integrity Protocol/Lower Limb Lecture (2023/24) Via the generation interface. Users can play the mixer by manipulating delay, pitch, speed, and feedback.
One of the promises offered by the recent explosion of interest in digital art was that this medium could truly interact with audiences. This time, MoMA and Feral File have proposed five sound machines that demonstrate the possibilities.
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