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"Jennie C. Jones  practice mines the territory of Modernism-abstraction and minimalism; experimental jazz; and seminal political and social shifts-to reveal the complex and often parallel legacies of the mid-20th century's social, cultural, and political experimentations.  Jones brings to light the unlikely alliances that emerged between the visual arts and the imprint of jazz, highlighting the way they became and continue to exist as tangible markers of social evolution and political strivings. "

"Toussaint-Baptiste's current exhibition, Set It Off, addresses affective and relational possibilities of sound through the perspectives of minimalism and a resistance to predetermined representations of Black American experiences by favoring instead abstract visual and sonic expressions of Blackness."

Vocalist, performer and sound artist Stine Janvin works with the extensive flexibility of her instrument of the voice, and the ways in which it can be disconnected from its natural, human connotations. Created for variable spaces from theatres, to clubs and galleries, the backbone of Janvin's projects focus on the physical aspects of sound, and potential dualities of the natural versus artificial, organic/synthetic, and minimal/dramatic.

"I've experienced a number of works by Ryoji Ikeda over the years, from gallery installations to live concerts to a screening at Kyoto Experiment a few years ago… While his oeuvre is well defined, and often includes extremes (volume, frequency, minimalism) the idea of experiencing his first works written for percussion intrigued me enough to book my tickets for Japan - what form could such work take? "

The Song Books by the sound artist Rolf Julius (born in 1939) consist of several bound sheets of Japanese paper, of which each sheet is marked by a different kind of spot.[1] These red or black spots are prints of the processed photographs of color pigment clusters. Julius had already used these types of pigment clusters in earlier sound art installations, combining them with different sounds. There were similar sheets in his Piano Piece No. 1 (1998), whose title indicates that they can be performed musically.[2] It would hardly be possible to detect this solely on the basis of their visual form. According to Erhard Karkoschka, Julius's musical graphics can therefore be classified as pure musical graphics, that is, as musical graphics without a staff.[3] It must above all be stressed that musical graphics constitute individual solutions to problems with notation as perceived by an artist, and therefore stand out due to their different relationship to conventional notation. When interpreting musical graphics with so few parameters, which is the case for the Song Books, the performers have to develop a convincing translation for the ambiguous parameters. In the Song Books, the repetition of a similar form-in this case, the various spots-directs the performer's gaze toward minimal differences, such as the different sizes or fraying of the spots,[4] which are then translated into sound.

"For over 30 years, Basinski has worked with tape loops - capturing, slicing and warping the world around us on reel-to-reels. He makes field recordings from nature and shortwave radio signals, then literally cuts them up into short loops. His almost obsessively analog-focused work is often melancholic and strained, but always beautiful. But it is The Disintegration Loops, a project he finished the morning of September 11 while living in New York, for which he's best known."