University of Art and Design Linz
Curator: Enrique Tomás
“Sound Campus” is a new program oriented towards examining the state of experimental sound practices at universities and research centers. It opens a possibility for students and researchers to present new forms of understanding sonic art to the audience of Ars Electronica Festival. This year’s program, curated by Enrique Tomás, presents uneasy sound performances resonating in the face of a critical present; intrusive music, touching us despite lockdowns.
“Sound Campus” has firmly decided to connect with distant audiences by extending its resonant program towards the Internet. The pandemic clearly hit us prior to inventing adequate platforms for hosting online music festivals. Instagram music concerts were restricted by laptop monitors and small living room speakers. Indeed, a certain “uberization” of online artworks could be observed: a “home delivery” of tele-networked -and precooked- artistic products.
For the selection, “Sound Campus” published an open call for projects. More than 120 artists from every continent submitted live performances, musical work or interactive sound installations. Over forty artworks were selected and curated for this festival.
Timetable
Program
Project Credits / Acknowledgements
Curator and text: Enrique Tomás;
Project manager: Julia del Río;
Metaverse design and programming: Daniel Romero;
Sound system: Das Wiener Akusmonium, by The Acousmatic Project Wien;
Technical and administrative support: University of Art and Design Linz/CAMPUS team (Julia Nüßlein, Davide Bevilacqua, Sylvia Leitner).
