The Violence Project

Violence Radio

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    The Sound of Violence

    soundart 2022 curated by Wilfried Agricola de Cologne

    Before anything else, violence is primarily defining itself also through sound.
    But sound is not representing a mere accompanying phenomenon, but sound can be also dominating unusually violent, in every-day-life, as well as a destructive tool in torture and war, through the misuse of sound – not only in terms of its volume, but also in terms of the associations connected with certain kinds of sound, and – these destructive phenomena are all – human made.

    Compared with the natural sounds, the artificially generated sound has always the potential to become a weapon of physical or psychological harm & destruction.

    As a project – The Sound of Violence – would like to reflect the destructive potential of violence via the non-visual medium of sound.


    Violence Radio

    is featuring – The Sound of Violence – as the basic daily program to be extended by special soundart programs now & then.


    Details

    Debra Petrovitch (Australia) - Garden of the inevitable, 2022, 7:46

    Debra Petrovitch (Australia) – Garden of the inevitable, 2022, 7:46
    starts with a low foreboding drone that builds to a cacophony and then fades to a primal baron landscape – something has come out of nowhere -which explodes into a chaos of sounds which are transmitted during a collision of information. – Instruments and samples – Debra Petrovitch –
    Horns, drones, scrambled transmission – guitars organ and sequencing – Debra Petrovitch

    Dr Debra Petrovitch
    is an academic and multi-media artist of national and international acclaim. She is also the founder of Subcutaneous Theatre, which explores the immersive possibilities of video, sonics and performance. Her essay Performing the limits of language has been published in Language & Chaos as part of the Mike Parr exhibition Foreign Looking National Art Gallery of Australia.
    Debra has numerous awards including the New Media Fellowship Aust. Council for the Arts and the New Media prize at 13th International Electronic Arts Festival Sao Paulo Brazil for her Interactive CDRom Uncle Bill.
    Debra’s PhD dissertation Discomfort of the Flesh: Antonin Artaud’s Theatre realised with New Media Technologies charts Artaud from birth to death, examining his ‘struggle’, which ultimately defines his ‘theatre’. The word ‘theatre’ takes on new meaning as its extended definition moves into eruption, embodiment and transformation. The investigation covers many forms including the avant-garde, ritual theatre, fractured audio, film and performance, leading into new media

    Marcus Beuter (Germany) - Pain-Schmerz, 2014, 6:56

    Marcus Beuter (Germamy) – Pain-Schmerz, 2014, 6:56
    Rare earth elements are harmless as long as they rest at their place of origin. When they are extracted, they cause much pain, which the end consumer does not notice: pain for the people who
    dig for them and handle them, as well as for the plants and animals whose habitat is poisoned and destroyed through the extraction of rare earth elements. During refinement and disposal, great
    environmental pollution is caused as well. Rare earth elements exist in many products which we take for granted. We don’t know of the pain that is caused. We don’t hear it. The piece schmerz
    renders the pain audible.

    Marcus Beuter – Sound artist, composer of electro acoustic music, improviser. Journeys through Europe, Iran, Pakistan, Laos, Vietnam, India, Indonesia, Gambia, Senegal, USA, Georgia, Armenia, Brazil, Peru, Bolivia, Sri Lanka.
    Focusing on field recordings, which are collected on several travels. Furtheron projects focused on interviews on social issues and the reception of differing cultures. Co-founder of
    fragment-recordings. Sound installations, electroacoustic compositions, free improvisation. Member of the head of Cooperativa Neue Musik. Several Ensembles and collaboration with musicians and
    artists of different genres.

    Joan Schuman (USA) - The Hitman, 2021, 7:18

    Joan Schuman (USA) – The Hitman, 2021, 7:18
    The brutal murder of a wild peacock shook my neighborhood. News coverage included a phone interview with the ‘hitman’ who had posted an advertisement in local social media for instructions to locate the bird. Untangling not just the barbarity of this violence, but its premeditation reveals the puzzling human-animal divide. We dote on our companions; we eat the flesh of never-met animals; we dispatch irritants. A peacock is a fine but ugly beast. These composed, imagined voices mire a listener in textural and vocal contrasts. It’s an endeavor at illuminating a
    nefarious desire for control in an uncertain, violent world.

    Joan Schuman
    I create radio art that is muscularly narrative. Works have aired internationally since the 1990s. Interviews frequently find their way into sound-texts. Fragments become a story. Voices morph and evolve. Sounds from the field are both exacting and woven as sonic metaphors. I have curated programming for online and broadcast spaces; in 2015 I founded the virtual sound-art museum, Earlid. As a mentor at Wave Farm I guide researcher-artists to build a fluid collection of radiophonic works. And since 2004, I’ve been teaching online through the Masters in Media Studies program at The New School for Public Engagement.


    Joseph Nechvatal (France) - The Viral Tempest, 2021, 9:24


    Joseph Nechvatal (France) – The Viral Tempest: pour finir avec le jugement de dieu viral symphOny plague (herOic cOjOnes), 2021, d) 9:24
    The Viral Tempest: pour finir avec le jugement de dieu viral symphOny plague (herOic cOjOnes) uses Antonin Artaud’s radio play To Have Done with the Judgement of God as the sonic figure which Nechvatal violently deconstructs, convolutes, and weaves into his virus-modeled a-life audio work viral symphOny (2008). While one can refer to viral symphOny as a preceding statement on immersion into detrital dynamism, this track can be understood more specifically as elaborating on re-conceptualizations of identity and figuration within viral space; a violent space that features prominently in the artist’s virus-modeled paintings and philosophy of the art of noise.

    Joseph Nechvatal’s
    visual and sound art practice engages in a fragile assimilation of production and resistance. His book Towards an Immersive Intelligence was published in 2009 by Edgewise Press. He has also published three books with Punctum Press: Minóy (ed.) (2014), Destroyer of Naivetés (poetry, 2015) and Styling Sagaciousness: Oh Great No! (poetry, Fall 2022). The second edition of his book Immersion Into Noise was published by Open Humanities Press in 2022. His audio works Selected Sound Works (1981-2021) and The Viral Tempest (2022) were published this year by the experimental music and sound art label Pentiments.

    Andre Perim (Brazil) - Burn, 2020, 3:48

    Andre Perim (Brazil) – BURN, 2020, 3:48
    “Burn” is the final part of a bigger work called “Xamã” (Shaman) produced in 2020 dedicated to the Brazilian indigenous people. It was composed during the burning of the rain forest in 2019.
    There have been several drastic burnings affecting the rain forest in Brazil since 2017. Unfortunately, Brazil had changed its environmental politics in the last years, moving from a sustainable relation with the natural resources to an aggressive exploitation. The work was presented at AIR-As if radio… 26th Climate Change Conference (COP26) in Glasgow COP 26-Glasgow (Scotland)-2021

    Andre Perim
    is a Multimedia Artist, Musician and Composer. Born in Rio de Janeiro, Brazil. His work was screened in several festivals around the world and in 2020 received a review in a special edition of ART HABENS Contemporary Art Review Magazine. As a Musician-Composer released three albums- “Dágua” (2014), and “Dágua ao vivo” (2018) and “Side Effects”. The last one is based on the work produced for the internet during a long period inside a hospital due to a cancer disease treatment. In 2020 his composition “COAGULATION” was awarded by the site SoundSilenceThought.

    Le Tuan Hung (Vietnam/Australia) - Elegy for Victims of Wars, 2022, 3:16

    Le Tuan Hung (Vietnam/Australia) – Elegy for Victims of Wars, 2022, 3:16
    In any war, losers are innocent people, ordinary participants on both sides, and above all the environment. Circulating above the suffering of people and the destruction of the environment are the arms industry and powers that gravitate around them. Elegy for Victims of Wars is a musical lament for the suffering masses in all conflicts around the globe, and also a sharp criticism against the forces that initiate wars.

    Le Tuan Hung
    is a composer, performer and author. He is a multi-instrumentalist with a strong background in Vietnamese traditional music and Western classical music. Since the late 1980s he has been active in creating acoustic and electro-acoustic compositions which transcends the cultural borders between East and West.

    Hernando Urrutia (Portugal) - underWORLD - (infraMUNDO), 2021, 2:02

    Hernando Urrutia (Portugal) – underWORLD – (infraMUNDO), 2021, 2:02
    infraMUNDO (underWORLD) open up the existence of that look from the dark world, from the underworld of our memory, which leads us to feel the look from the darkness and its connotations, the
    fears and doubts, its reflections on the occult, which from the darkness of the underworld refers us to our unconscious fear that generates violence in our collective and individual memory.
    The strong charge of sound art, broadens a narrative turned towards a violent vision, which represents our fears, shows the dark side of our unconscious, thus exposing the creation and intensification of stories with sound narratives of violence.

    HERNANDO URRUTIA
    Born 1964 – Multidisciplinary Artist, Researcher, Designer, Curator and Cultural Manager, of Basque roots and Portuguese nationality. PhD. in Digital Media-Art. Collaborating Researcher at CIAC. Visiting Researcher at M-ITI. He has completed 123 post-graduate training courses and 3 artistic residencies. Curator in 31 bartistic projects. He has received Awarded 231 Acknowledgements and 8 prizes. He has been special guest in several Contemporary Art Salon and International Festivals He has been exhibiting professionally since 1986, participating in several projects and more than 400 group exhibitions and 17 solo exhibitions in 37 countries. He is represented in more than 214 important Public Collections and in more than 180 Private Collections. He has been published in more than 140 books, magazines, newspapers and catalogues.

    Alex Topic (UK) - After Armageddon Radio, 2022, 9:36

    Alex Topic (UK) – After Armageddon Radio, 2022, 9:36
    After Armageddon Radio is an audio artwork that explores the effects of nuclear war and its aftermath through the perspective of a radio broadcaster alone in a nuclear winter.

    Alex Topic
    I am a graduate of The University for the Creative Arts (UCA). I specialize in sound art. I describe myself as a “Sound Artist” and am hoping to build a career as an artist in sound and other fields of art.


    Thomas Pickarski (USA) - Only in America, 2022, 5:47

    Thomas Pickarski (USA) – Only in America, 2022, 5:47
    Statement
    I am horrified by the enormity of gun violence and mass shootings throughout America. It is with a sense of urgency that I reflect this painfully disturbing reality through a spoken word
    and sound artwork. I aim to help others feel deeply the heartbreaking toll of this crisis.
    Description
    A spoken word and sound artwork that chronicles each mass shooting in America over the last 50 years (1982-2022). For exhibition purposes, this artwork is updated constantly for maximum impact.

    Thomas Pickarski
    is a multi-media visual and performance artist. He often integrates storytelling into his work through text and spoken word. He holds a BFA in Painting and an MFA in Performance Art, both from Arizona State University. He currently has 2 photographic solo exhibitions Floating Blue, and Snow, Sand, Ice touring the U.S., and his new short film The Silken City premieres at film festivals in the fall of 2022. He lives in Greenwich Village, New York City.

    Johannes Gerard (Netherlands) - ominous , 2022, 3:17


    Johannes Gerard (Netherlands) – ominous , 2022, 3:17
    The metaphorical work focus on subjects related to feelings, changes, dreams, goals, staying, connectedness, departure, changes, experiences in the context of a place we call home. Reflecting
    personal and cultural experiences shaped by the social and political conditions and the environment. In case if needed I enclosed one supplement/ supporting image “OMINOUS”

    Johannes Christopher Gerard
    Study at the Dun Laoghaire School of Art and Design (now IADT), Dublin, Ireland. He worked in various places around the world, including in Europe, Asia, Australia North and South
    Americas and West Africa. Since 2014 his work focus on interdisciplinary and international collaborative projects.

    Stéphane Borrel (France) - The Lovebirds - The Inspired, 2021, 6:55

    Stéphane Borrel (France) – The Lovebirds – The Inspired, 2021, 6:55
    The diptych composed of The Lovebirds and The Inspired is an excerpt from Anthology of laughter, an electroacoustic work that employs as its essential sound material the laughter from the recordings of 300 invited participants. The musical writing, based on very precise sound selection, manipulation and editing, brings into focus the timbres, the rhythms and the pitches of this material. In addition, it takes into account a more evocative side which consists of recreating “plausible” scenes or portraits that highlight the different laughter types. The diptych The Lovebirds – The Inspired contrasts an inner scene with an outer one.

    Stéphane Borrel
    lives and works in Lyon, France. He writes for different ensembles and diverse electronics, ranging from chamber music to the symphony orchestra, from mixed music to sound
    installations. He has worked with ensembles such as the Instant Donné ensemble, the Ensemble Orchestral Contemporain, Orchestre National de Lyon, Ictus ensemble, Cairn ensemble, Divertimento
    ensemble, Vortex ensemble and so on. He was the prize-winner of the Phonurgia Nova scholarship in n2009, and Hervé Dugardin Prize of the SACEM in 2013. Since 2003, he has taught composition and
    electronic music composition at Conservatoire de Lyon (CRR), France.

    Marisa Tornello (USA) - Burst, 2020, 6:43


    Marisa Tornello (USA) – Burst, 2020, 6:43
    “burst” is a retrospective into the opposing emotions of Americans during the pandemic. Originally created in October 2020, the meaning of burst has unfortunately only grown with relevance. The piece evolves from acoustic voices and instruments into white noise, an expression of loudness in a confusing time. Singular anguish transforms into overwhelming confusion. burst explores the chaos of solitude in times of crisis as well as the universal experience of a blurred reality. The violence of misinformation and lack of global unity during the pandemic is translated into this soundscape of isolated sounds creating a singular chaos.

    Marisa Tornello
    is a composer, vocalist, performance + visual artist, poet, mover, and maker from Staten Island. Tornello cultivates an artistic practice that explores the art of living scores and thematic development through the dual lens of trauma and healing. Their practice has been shown at Roulette, the Tank, Jack, La MaMa ETC, Snug Harbor Cultural Center, Vital Joint, Invisible Dog Art Center, Brooklyn Botanical Garden and Judson Church, and have been featured in the Flame Keeper series with Metropolis Ensemble, the Exponential Festival with Pioneers Go East Collective, and Ladyfest at the Tank. They are a member of ECHO Ensemble.


    Jan de Weille (France) - Appeasement, 2022, 3:52

    Jan de Weille (France) – “Appeasement”, 2022, 3:52
    “Appeasement” reflects the process from utter violence via extreme fatigue to a final small sign of a return to normality. It has been created with six sound-windows (Soundmaps) onto which
    virtual ants were crawling or drawings were made. An automated music generator (Deun ex Machina) created the waltz at the end of the piece.

    Jan de Weille
    Jan de Weille is a sound artist/biologist that creates his works both by programs of his own design and by using electrical signals emanating from organs or living animals. He has contributed to events as diverse as the Aqua Art Sound Broadcast in Miami, the Transrevelation concert in New York and the Waterwheel internet performance curated by Suzon Fuks, Brisbane, amongst others. Details may be found at


    Gianluca Licciardi (Italy) - Bodyshock, 2021, 8:49

    Gianluca Licciardi (Italy) n- Bodyshock / tERRORE (Audio Abstract) / End Credits Theme (for Dario Argento), 2021, 8:49 / 9:23 / 5:01
    Taken from “tERRORE”, an extensive audio essay on Horror movies. Features samples and interpolations from hundred of movies, including “Guinea Pig – Flower of Flesh and Blood”, “Evil Dead”, “Street Trash”, “Combat Shock”, “Inferno” and many others. Currently available on several streaming platforms as “SCHLOCK! tERRORE”.

    Gianluca Licciardi
    is an Italian sound artist. He has recently shared some music on several streaming platforms with two projects: “SCHLOCK!” (genre: exploitronica) and “Sputerò sulle vostre tombe” (genre: lo-fi Italian pop)

    David Jason Snow (USA) - Saint Modestus Blesses the AK-47s, 2022, 1:53

    David Jason Snow (USA) – Saint Modestus Blesses the AK-47s, 2022, 1:53
    All wars are holy wars.

    David Jason Snow
    The compositions of David Jason Snow have been performed in concert by the Ensemble Intercontemporain at the Centre Georges Pompidou in Paris, the Banda Municipal de Bilbao at the Euskalduna Palace in Bilbao, The New Juilliard Ensemble at the Museum of Modern Art in New York, and many other artists and ensembles internationally. His fixed media audio and visual works have been performed at the Musinfo Journées Art & Science Festival in Bourges, the Festival Exhibitronic in Strasbourg, the Festival Internacional de Video Arte y Música Visual in Mexico City, the Sound Thought Festival in Glasgow, and Echofluxx in Prague.

    Wittwulf Y Malik (Germany) - Wittwulf Y Malik (Germany) - peace-music II - ethereal space,op. 55 / 1985, 7:52

    Wittwulf Y Malik (Germany) – peace-music II – ethereal space, for synthesizer, op. 55 / 1985, 1985, 7:52
    production with synthesizer PPG wave two and Yamaha DX 7, as a sound installation for the “Friedensbiennale” at the Hamburg Kunstverein, 1.12.1985 – 12.1.1986

    Wittwulf Y Malik
    1967-72 music studies in Hamburg and Detmold. Since 1976 free-lance work as composer, composer, performer, visual artist, performance artist and with experimental multimedia projects. Grants in Germany, Italy and Sweden. Teaching-work at a lot of universities and music academies. Exhibitions at a lot of galleries and museums. Concerts/Performances in nearly all European countries and Canada and the US.

    Danai Gkougia (Greece) - When they find you, you'll be crying, 2022, 6:07

    Danai Gkougia (Greece) – When they find you, you’ll be crying, 2022, 6:07
    “When they find you, you’ll be crying” is a journey of emotions within a situation of horror. The composition is altering between rough and calm pieces of sound.
    Its intention, is to guide us through horror and let us experience brutality through its violent beats, faded but intense coversations and unsettling glitches.
    Throughout this dark and blurry audio, we are allowed a few seconds of sound that is quite comforting, in the same way that sparks of hope can exist within periods of terror.

    Danai Gkougia,
    born in 1997 is a visual artist from Athens, Greece. She has been honing her skills in sound composing, photography and mixed media sculpture for the past several years. Danai has experimented with performance, video art, stage and costume design, and has worked in art education since 2018.
    Some of her work has been exhibited in the Italian Embassy and the National Numismatic Museum in Athens, and she has also really enjoyed performing for Queer Archive Festival II. She works on her pieces in a rough and expressive manner, but with a quite sensitive and soft approach.
    Surrealism and the concept of random and arbitrariness, have shaped her aesthetic and artistic style. Danai’ s art practice is interested in the process of discovering clarity within vague and dreamy environments, while some key phrases of inspiration could be “messy inhibited pain”, “emotional realities” and “the body and its oddities”. As an artist, she loves the socialization and interaction within the art community, as well as interfering and collaborating with it.


    Dawn Davi (Canada) - War Siren, 2022, 7:35

    Dawn Davi (Canada) – War Siren, 2022, 7:35
    War Siren is a sonic representation of human life during 20th century. The rhythm of the siren pattern in the flute is written based on all the war dates in the 20th century. The multitude of sonic layers and events depict the very ordinary events in life around the world while violence was happening simultaneously in another part of the world or in the case of world wars one and two. The distorted vocal melody is inspired by the Iranian folk song “Navayi” highlighting a sense of nostalgia and mourning for the loss of love and youth.

    Dawn Davi
    is a composer, visual artist, and researcher based in Toronto. Her music has been featured in Huffington Post Quebec, City of Toronto’s 311 winter 2017 playlist, respectable “I Care if You Listen” blog, 514blog, as well as on multiple public and syndicated radio stations in the US and Canada, including CBC Radio One’s Homerun, CKUT, and KPFA-FM’s “Discreet Music”. She has previously performed in Toronto and Montreal as part of different events. She has won and been nominated for multiple awards for her music and music videos.

    Samantha Tiussi (Germany) - Shards, 2022, 7_00

    Samantha Tiussi (Germany) – Shards, 2022, 7_00
    As a metaphor of War, at first, the world gently collapses. After all the shine is gone, comes the big fall. No one believes on the near future, at first it’s just spoken words said in the networks. When the big fall comes, it drags all the hopes down, broken in the floor, like glasses that once shined, now is just pain and dust. Memories of a near past broken in the sparkle of an eye blink. Sounds of broken glass, that resemble a frozen lake when it starts to melt, some up with a piano that plays on the background until the moment of the fall, when a deep bass takes over the sonic environment. The invitation is to reflect about the consequences of the war on our lives and what is left over.

    Samantha Tiussi
    sees spatial shapes when she hears sounds. Through glass installations she creates an immersive experience. The glass originated during her childhood, her father used to work with glass and her memories remain alive.
    Her interest in music started with the age of 5, when she started to play piano. Her work developed merging music and visual art, till the point that the complete fusion of the disciplines became inevitable. Her work transits between multidisciplinary installations, sound art and paintings, creating a sensory field in which we are led to experience, through our senses, the present moment.

    Athanasia Tsatsou (Greece) - Afraid of Screaming? , 2021, 9:42


    Athanasia Tsatsou (Greece) – Afraid of Screaming? , 2021, 9:42
    A child’s crying becomes the main corpus of this composition, among other sounds that can be heard in the city: cars, machines, even the air itself. This composition attempts to reach a deeper world, that can be found in everyone’s mind. Our dreams and fantasies or, maybe, our deepest traumas. Emotions like fear and terror, shame and guilt, emotions that are very common to everyone, but very difficult to understand their truly origin of their existence. One thing is a fact: One has been violated, at least, once.

    Athanasia Tsatsou
    studied Theory and History of Art (bachelor’s degree, 2010 – 2014) and Sculpture (integrated Master’s degree, 2015 – 2020) both at the Athens School of Fine Arts, Greece. She has translated in greek the Barnett Newman essay “The Sublime is Now” at the greek academic magazine History of Art, issue 4, in June 2015. She has a special interest on sound art, by creating bizarre atmospheres: random urban recordings transformed into music via computer editing.
    She has participated in various group exhibitions and performances in Greece (such as at the Italian Embassy of Athens, Numismatic Museum of Athens, Queer Archive Festival, Performance Rooms, etc). Abroad she participated in the experimental sound project “All the things left unsaid / session one” curated by Debbie Y.J Lin, at Solo Sound Space, Los Angeles.

    Daniele Virgilio (Italia) - Disharm Too, 2022, 5:19

    Daniele Virgilio (Italia) – DISHARM TOO, 2022, 5:19
    This track takes origin from digitally distorted natural sounds: found voices, a paper cardboard touched by a vibrating tuning fork, various metals rubbed one against the other. Sounds of disintegration and pain try to give a non-form to a non-idea of our times.

    Daniele Virgilio
    Architect, urban planner, PhD in Urban Planning. His main research field and publications focus on the relationship between marginal places, suburban and rural territories, and their inhabitants. He is currently working on a research about the relationship between sound and place.

    Matze Schmidt (Germany) - can't play the Bataclan, 2015, 00:01:52

    shotslouderthanmusicweb

    Matze Schmidt (Germany)- … can’t play the Bataclan, 2015, 00:01:52
    Is it possible to play samples taken from the Paris attacks?

    Matze Schmidt
    Dr Matze Schmidt lives and works in Berlin.


    Fran Orallo (Spain) - Sound Collage – Collage Sonoro, 2015, 3’28”

    Fran Orallo (Spain) – Sound Collage – Collage Sonoro, 2015, 3’28”
    Collage Sonoro N2 consist in a sound art work that want to show the chaos and confusion of the tragic night of the attack in Paris, for that I used fragment of different songs, modified and edited as a collage. The work shows the idea that we don’t laugh at God, we laugh with God, because our way to feel the religion it is healthier that the way they do.

    Fran Orallo
    Fran Orallo was born in 1979 in Badajoz (Spain), city at which he lives and works at present. In 2006 graduated at the UPV, Valencia. Since then his work has been shown in many exhibitions, several biennales, and international festivals from all the world, with exhibitions in cities like Paris, Madrid, Mexico DF, La Paz or Montevideo.


    Cezary OSTROWSKI (Poland) - I Don't Deny, 2015, 1:15

    Cezary Ostrowski (Poland) – I Don’t Deny, 2015, 1:15

    Cezary Ostrowski
    Polish media artist

    Rhett Tsai (China) - Fair Lady’s Expectations/Mature Woman’s Umbilical Cord, 2021, 02:16

    Fair Lady’s Expectations/Mature Woman’s Umbilical Cord – 淑女的期待/熟女的臍帶 2021, 02:16
    This sound poetry is based on experiments between Chinese Mandarin and Taiwanese Mandarin.
    There has always been a hidden tension and violence in the relationship between mainland China and Taiwan, which is accentuated and externalized through social media and mass emotions. There are various subtle differences between Chinese Mandarin and Taiwanese Mandarin, either for historical reasons or for customary reasons. The artist puts aside the constraints of history and geography, and arranges the vocal poems read by the artist in different pronunciations in the left and right channels to create a unique listening and physical and mental experience.

    Rhett Tsai,
    currently based in Hangzhou, is an artist from China.Based on China’s unique Internet ecosystem and media society, Rhett’s interests include art and technology, cyberculture based on China, smart city, Chinese characters and hypertext, the soundscape in China’s social media. His work spans multiple fields including virtual reality, computer animation, sound, and audio-visual to express his critical reflection on the media society here and now. Rhett received his BA and MFA from China Academy of Art. Currently, Rhett teaches at the Department of Open Media, China Academy of Art.