Jost Muxfeldt 

(*1959) is a German/American artist, composer, and philosopher, who almost exclusively uses electronic media and computers. His work often focuses on trans-media and phenomenology.

Jost Muxfeldt explores the rational and irrational channels between artistic and conceptual disciplines, and pursuing their self-transfiguring implications.

In 1991 he moved to Berlin, where he began working as an artist and composer, independently as well as with other artists such as Arnold Dreyblatt, Martin Riches, Laura Kikauka, and Stephan Wunderlich. He also began working in architecture for Daniel Libeskind, Arata Isozaki, Axel Schultes, and later with many other prominent Berlin architects.


The first performances of his music and sound works were organized in Darmstadt and in Munich by Stefan Wunderlich in 1998/1999. More recently, he published in philosophy under edition of Jean Michel Rabaté, and lectured at the international Philosophy and Architecture Conference at the Université Paris X  Nantèrre in 2005 on the work of Arakawa and Madeline Gins. His most recent audiovisual work, Audio Kinematics, has been shown in numerous  venues through Europe, including  the Tesla Media Art Center at both the Ultraschall and Transmediale Festivals in 2007, the Centre D'Art Santa Mònica for the Sónar 2007 Festival in Barcelona, at the Via Festival in Maubeuge, and at the Exit Festival in Paris-Créteile in 2008.


Source: Jost Muxfeldt



Jost Muxfeldt, architecture, super collider, software


Computer Music Journal: Visual Music (2005) - The articles in this issue are all devoted to the topic of Visual Music: audiovisual creations in which the artist strives to endow the video component with formal and abstract qualities that mimic those of musical composition. (Computer Music Journal)

Notation. Calculation and Form in the Arts (2008) is a comprehensive catalogue (in German) edited by Dieter Appelt, Hubertus von Amelunxen and Peter Weibel which accompanied an exhibition of the same name at the Academy of the Arts, Berlin and the ZKM | Karlsruhe. (ZKM)

Expanded Cinema (1970) - In a brilliant and far-ranging study, Gene Youngblood traces the evolution of cinematic language to the end of fiction, drama, and realism. New technological extensions of the medium have become necessary. Thus he concentrates on the advanced image-making technologies of computer films, television experiments, laser movies, and multiple-projection environments. Outstanding works in each field are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists. (John Coulthart)



‘vE-”jA: Art + Technology of Live Audio-Video (2006) by Xarene Eskander is a global snapshot of an exploding genre of tech-art performance: VJing and live audio-video. The book covers 40 international artists with 400+ colour images and 50+ movies and clips on an accompanying DVD and web downloads. (VJ Book)

D-Fuse are a collective of London based artists who explore a wide range of creative media. Their explorations of live audiovisual performance, mobile media, web print, art and architecture, TV and film, have beend shown internationally. (D-Fuse)

META/DATA: A Digital Poetics (2007) by pioneering digital artist Mark Amerika mixes (and remixes) personal memoir, net art theory, fictional narrative, satirical reportage, scholarly history, and network-infused language art. META/DATA is a playful, improvisatory, multitrack digital sampling of Amerika's writing from 1993 to 2005 that tells the early history of a net art world gone wild while simultaneously constructing a parallel poetics of net art that complements Amerika's own artistic practice. (The MIT Press)

One Minute Soundsculpture (2009) by Daniel Franke (We Are Chopchop) scored by Ryoji Ikeda and filled with visual shenanigans that correspond to the soundtrack. (We Love You So)

Lichtfront is an design collective based in Cologne, Germany. They have a singular pursuit, and that is to interpret sounds directly through images. This no-bars approach makes it possible to perform live sets and for the VJs to directly react to the rhythm and the feel of the music. The form of the sets corresponds to the handwriting style of each Lichtfront VJ. Therefore there's the incentive, as the set itself demonstrates, to produce for each night a unforgetable visual clip. (bitfilm)