Synthetic Handshake series (2020 —), audio-visual live performance

Curator Spotlight #2: Wang Changcun – Navigating Virtual Structures Through Sound and Code

We are pleased to present a new chapter in our Curator Spotlight series, continuing our journey into the intersection of digital artistic experimentation and the intricate cultural dynamics of the contemporary Chinese art scene.

Through this format, which combines an interview with thematic insights, we critically reflect on the artist’s work, analyzing it not only from an aesthetic perspective but also as an expression of a rapidly evolving cultural context. His art transcends the realm of technology, emerging as a powerful language that addresses pressing social, political, and existential issues.

In this second in-depth analysis, we explore the curatorial motivations behind our decision to examine the work of Wang Changcun.

Born in 1981, Wang Changcun is a multifaceted artist operating at the intersection of electronic music, digital art, and programming. Originally from China and currently based between Hangzhou and Shanghai, he embodies the essence of contemporary art by embracing the boundless possibilities of technology. Through a practice that integrates digital languages, algorithmic approaches, and internet-based aesthetics, his works explore themes such as suspended movement, mobility, and interaction within intersubjective environments.

Wang’s artistic journey began in 2003 when six of his pieces were featured in the compilation China: The Sonic Avant-Garde, released by the American label Post-Concrete. This milestone marked a pivotal moment in his international career, leading to his participation in the Sounding Beijing 2003 festival. In 2004, his first European tour brought him to perform in France, the Netherlands, and Belgium, introducing Western audiences to his distinctive musical vision. His discography includes notable albums such as The Mountain Swallowing Sadness (Sub Rosa) and Parallel Universe (Post-Concrete), solidifying his reputation in the sound art scene.

With a background in electronic information engineering and experience as a web developer, Wang brings a technical perspective and skills that distinguish him from many other artists. His ability to integrate significant technological elements into his practice demonstrates how boundaries between disciplines can be transcended to create innovative hybrid forms of expression.

Over the years, Wang Changcun has continued to push the boundaries between music and sensory experience, integrating emerging technologies and innovative approaches into his work. His album MTK (Detroit Underground, 2017) showcases his talent for blending glitch and IDM elements, creating complex, multilayered soundscapes.

With Song of Anon (D-Force, 2018), Wang further expanded the limits of traditional music composition. This project transcends the conventional album format by incorporating a generative application that delivers a unique experience to every listener. Developed using Max/MSP, the app generates rhythmic and sonic patterns in real-time, allowing users to interact with the music in personalized ways.

This fusion of music and programming exemplifies Wang’s approach, viewing the computer not merely as a production tool but as a creative partner actively contributing to the compositional process. By leveraging algorithms and generative systems, Wang challenges traditional musical conventions, offering sound experiences that evolve and transform with each interaction.

One of the most iconic works in Wang Changcun’s career is the album Blunt Weapon (2021), marking the beginning of the long-term project Blunt Weapon 5:500. This album, released in a limited edition of 500 vinyl copies, was produced by the Chinese label TCHA 察.

In Blunt Weapon, Wang merges generative algorithms with experimental sound aesthetics, crafting compositions that evolve according to defined yet unpredictable rules. The album consists of 11 tracks, including “Black Dragon River = 黑龙江,” “Treehopper = 角蝉,” and “Groundwater = 地下水.” These works provide a constantly fresh auditory experience, reflecting Wang’s innovative approach to blending technology and sonic art.

Blunt Weapon is a compelling example of Wang Changcun’s groundbreaking approach, integrating generative algorithms with experimental sound aesthetics to create compositions that evolve unpredictably, offering listeners a novel and ever-changing experience.

The dialogue between art and artificial intelligence is central to Wang’s practice. His collaboration with Google’s Magenta project, which leverages TensorFlow machine learning to generate creative materials, stands as one of the most advanced examples of this methodology. Wang masterfully balances technical complexity with profound artistic sensitivity, producing works that challenge traditional perceptions of art and music.

To delve deeper into Wang Changcun’s artistic journey and philosophy, Giuseppe Moscatello and Linda Shen, who are collaborating with us on this format, decided to meet him for an interview!

Giuseppe Moscatello / Linda Shen: How do you approach the concepts of time and space in your creations, and what specific digital or algorithmic tools do you use to express these ideas?

Wang Changcun: A large part of my worldview is shaped by music. When I work on something, I often approach it from a musical perspective, whether it’s my visual works or software projects. I see time and space as integral components of my music, with visual and interactive elements serving as different layers within it. My primary tool is Max/MSP, but I also occasionally write simple scripts using JavaScript or Python.

On the subject of time and space, I created a sound installation called A Semitone in 2014. It involved the sound of a pitch sliding by one semitone over the course of eight hours. The piece started when the museum opened in the morning and concluded precisely when the museum closed in the afternoon.”

Your album releases span a variety of labels and international influences, from American labels like Post-Concrete and Detroit Underground to the Chinese label D-Force. How have these collaborations across different cultural contexts shaped your artistic approach and perspective on digital and algorithmic music?

To be honest, it’s not the different cultural backgrounds that have influenced me the most, but the internet. It has reshaped my understanding of time and space in a way that goes beyond music. For example, in the early 2000s, I collaborated with some friends I had never met on a project called Rendezvous. We recorded the sounds around us in different parts of the world on the same day, at the same moment, and then compiled these field recordings into a CD.

The first time I saw a personal website or homepage, I was amazed. For a long time, I believed that web pages were the best form for my work because they combined sound, visuals, and interaction. I created many websites using Macromedia Flash, but after Flash was phased out, all the websites I had built with it stopped working.

How do you view the role of blockchain and NFTs in the digital art space, and what potential do you see for algorithmic and internet-based art in this evolving landscape?

There’s so much happening around blockchain and NFTs, like a continuously exploding torrent of ideas. Some blockchain-based mechanisms and concepts are truly inspiring, but the overwhelming amount of information can also cause people to miss out on interesting developments. In 2021, I attempted to create a piece based on IPFS (the storage layer for blockchain and Web3 ecosystems), but I encountered challenges and confusion regarding some of the technical details.

Your art has always centered around sound as a core element, emphasizing the synergy between sound and visual expression. How do you explore and convey this connection? Over your more than 20-year creative journey, how have you continually pushed your own boundaries?

Initially, I followed the tradition of audio-visual works, aiming to explore the synaesthesia between sound and image. In this context, the ‘visual’ element isn’t limited to a video file; it can be algorithmically generated graphics, a website, or anything that can be displayed on a screen. However, many people still assume that everything happening on a screen is a video file—a playback rather than something happening in real time :^).

In recent years, I’ve started to think of the ‘visual’ as another layer of my music, almost like a timbre that people can see. I first experimented with this concept in my work Synthetic Handshake, which began in 2020. In fact, I don’t often dwell on boundaries, as there are so many possibilities waiting to be explored.