Directory.

12k

A label where minimal electronics, field recording and acoustic detail share the same quiet space.

65daysofstatic

A generative game score turns a band’s material into an effectively unbounded soundtrack.

Alex McLean

Yaxu

Pattern transformations turn live code into fractured, constantly shifting dance music.

Alexandra Cárdenas

Compositional structures become evolving techno and noise through live code.

Alva Noto

Carsten Nicolai

Digital copying and transformation turn familiar samples into unfamiliar sonic textures.

Amith Venkataramaiah

Code, sound and moving image meet in collaborative audiovisual performance.

Anna Ridler

Handmade datasets expose the labour and choices hidden inside machine-generated images.

Antonio Roberts

hellocatfood

Live code reshapes samples, controls synths and brings algorithmic glitches to DJing.

Ars Electronica

A festival, museum and research network mapping the changing relationship between art and technology.

Arshan Najafi

Eight electroacoustic problems with no interest in resolving politely. Noise, concrète debris and unstable pulse keep changing the terms of engagement; the algorithms supply pressure, not personality.

Autechre

Sean Booth & Rob Brown

Bespoke software instruments shape restless rhythm and intricate electronic worlds.

Beatrice Dillon

Carefully constrained rhythm and tuning create electronic music of unusual space and precision.

Ben Fry

Code turns complex information into readable, explorable visual form.

Benjamin Wynn

Sound, light and custom systems meet in immersive work under the name Deru.

Bill Fontana

Live environmental sound links distant places and reveals the acoustics of structures.

Bill Orcutt

The premise is funny and exact: Steve Reich’s Four Organs crossed with Louie Louie. A thirteen-piece band turns Orcutt’s software-generated structure into loud, unstable ensemble music, where strict timing keeps threatening to come apart.

Brian Eno

Evolving ambient systems that make each listening experience a little different.

c_robo_

Seven compact shocks written in the browser, where rhythm behaves like syntax under pressure. This is live coding with the screen glare left in: brusque, unstable and far too physical to feel like a demonstration.

Casey Reas

Software processes generate images that expose the behaviour of their underlying rules.

Christa Sommerer & Laurent Mignonneau

Living systems and visitor actions generate images inside responsive installations.

CLKDRIFT

A ten-track rhythm study that keeps changing the grid without losing the body. Polymeters slide across one another, subdivisions breathe and trance patterns mutate in place: intricate electronic music with forward motion rather than technical display.

Constructive Music

Constructive Music connects CxBxT, Tujiko Noriko & Adrian Corker to Wired Moth’s map of technology-led music.

CxBxT, Tujiko Noriko & Adrian Corker

A remix record that keeps its pulse and its ghosts. Dub techno, industrial drag and Tujiko Noriko’s voice circulate through seven sharply different rooms; the coded pieces feel like the building briefly learning to breathe.

DADABOTS

Neural networks turn metal and punk recordings into raw, unruly new audio.

Dan Hett

Generative code, performance and public work translate systems into vivid visual experiences.

Dane Law & Chants

Acoustic performances are taken apart without losing their grain. Soft drums, guitar, brass and mallets keep surfacing inside slow-moving polyrhythms: patient headphone music with real warmth and rhythmic life.

Daniel Canogar

Live data moves across sculptural screens and architectural surfaces.

Daphne Oram

Drawn shapes become control signals in one of electronic music’s foundational instruments.

DJ_Dave

A three-minute club track with a vocal hook, quick-building tension and no wasted motion. The code is audible in its clipped repetitions and abrupt turns, but the decisions are those of a sharp pop songwriter.

Edgard Varèse

Sound masses, percussion and electronics point beyond the limits of the orchestra.

Elliott Sharp

Ten electric guitars behave like a flock with faulty instincts: copying, mutating and recombining until the score becomes a weather system. Nearly two decades in the vault have not cooled its feral group intelligence.

Erasable Assignments

Erasable Assignments connects Karhide to Wired Moth’s map of technology-led music.

etali.de

BPM is treated as a rumour. Data-lit atmospheres and broken rhythmic matter keep re-forming in real time, less an album of tracks than a black-fluid negotiation between code and muscle memory.

EVEL

EVEL connects nnirror, Arshan Najafi, c_robo_ and others to Wired Moth’s map of technology-led music.

Gene Kogan

Open teaching and code make machine-learning techniques available as creative material.

generated.generation

Software-only electronics that refuse to hold still long enough to become furniture. Patterns thin, knot and reorganise across ten pieces; the pleasure is in hearing control repeatedly loosen its own grip.

Geologist & Kyle Simon

Moonlight becomes control voltage, but the appeal is not the diagram. Across a single slow arc, cracked electronics and luminous drones keep changing density as two performers steer and answer a signal that can never quite repeat.

Google Arts & Culture – Artists + Machine Intelligence (AMI)

An artist programme connected machine-learning research with experimental cultural practice.

Harold Cohen

A drawing program becomes a decades-long collaboration between artist and machine.

Helena Sarin

Personal photographs and physical media feed compact, tactile neural image systems.

Holly Herndon

Human voices and a learning system meet in collective, choral electronics.

I'm Gold

Six compact pieces move between ambient drift, clipped rhythm and indie-electronic melody without treating the code as a spectacle. Gold Kim’s programming feels closer to touch than demonstration: structures change in the moment, but the record keeps a warm, handmade scale.

Iannis Xenakis

Probability, architecture and computation drive music of immense physical force.

iDEAL Recordings

iDEAL Recordings connects Max Eilbacher & Lucy Railton to Wired Moth’s map of technology-led music.

Janet Cardiff & George Bures Miller

Recorded voices and precisely staged spaces turn listening into a physical narrative.

Jenna Sutela

Machine translation, bacteria and invented language meet in an alien communication system.

Jennifer Walshe

A machine-learned voice retells musical history through its own strange imperfections.

Joanne Armitage

JOANNE

Code as embodied improvisation, with industrial textures and playful, irregular rhythms.

John Cage

Chance operations and electronic media recast composition as a framework for events.

Jules Rawlinson

A box of VCV Rack mechanisms taught to twitch, disperse and occasionally eat their own wiring. Tiny rhythmic particles become a loose, quick-witted electronic ecosystem rather than a preset parade.

Julian Rohrhuber

Networked synthesis and just-in-time programming make code an improvising ensemble member.

K Allado-McDowell

Language models enter the libretto, staging and collaborative world of opera.

Karhide

Fourteen research careers recast as bright, patiently unfolding electronics. Citation counts become pulse and pitch; Karhide then trims the spreadsheet chill with grain, drift and enough melodic sentiment to keep the graphs breathing.

Karlheinz Stockhausen

Electronic synthesis and instrumental performance meet in rigorously organised spatial form.

Keith Fullerton Whitman

Two long real-time documents with the casing left open. One catches Whitman’s computer music in public motion; the other lets hybrid digital-analogue patterns spread across the room after hours. Process music as lived-in voltage, not white-coat proof.

Laurie Spiegel

Algorithmic structure becomes inviting electronic music with a distinctly human sense of motion.

light-years

light-years connects Maxime Denuc to Wired Moth’s map of technology-led music.

Lil Data

Jack Armitage

Pop hooks become programmable material through playful live-coded transformations.

Linda Dounia

Generative image-making examines memory, place and the politics encoded in datasets.

Luca Ventimiglia

Five minutes of data made physical. Ventimiglia treats digital structures as raw sonic matter, listening for the configurations the system produces and choosing where observation becomes composition.

Mad Decent

Mad Decent connects DJ_Dave to Wired Moth’s map of technology-led music.

Magenta (Google)

Open research tools explore how machine learning can support music and image-making.

Manfred Mohr

Code subjects the cube to decades of exacting visual transformation.

Marcus Schmickler

Computer music exploring pitch, microtonal colour and the perception of sound.

Mario Klingemann

Neural image systems become autonomous portrait machines and instruments for visual discovery.

Mark Fell

Forty minutes of dance music that keeps changing the floor beneath itself. Clashing tempi, snapped digital percussion and strange accelerations make Fell's formal systems feel less like abstraction than a new physics for bodies.

Mark Fell

Minimal synthetic material, complex rhythms and an unstable sense of musical time.

Max Eilbacher & Lucy Railton

Cello and synthesis meet as materials rather than opposites. A single long piece moves through bright partials, unstable beating and hard-edged electronic mass, turning spectral analysis into music with real physical tension.

Maxime Denuc

Early trance and a Catholic pipe organ turn out to share more than repetition. Denuc uses a custom sequencer to make the organ move at inhuman speed, then lets the church’s acoustics give those patterns weight and duration.

Memo Akten

Machine perception becomes a mirror for human interpretation, bias and belief.

Milieu

Three hours of pastoral drift generated by an unusually poetic control system. Text becomes Morse-code gates, lunar phases disturb their timing, and three resonator chords open into shortwave haze: ambient music whose apparent stillness is full of machinery.

Mille Plateaux

A label history tied to clicks, cuts, glitch and the theory of digital sound.

Miri Kat

Live-coded patterns connect club rhythm, projected code and collective performance.

National Centre For Mark Fell Studies

National Centre For Mark Fell Studies connects Mark Fell to Wired Moth’s map of technology-led music.

Nearest Neighbors

Nearest Neighbors connects tmhglnd to Wired Moth’s map of technology-led music.

Nick Collins

Live algorithms become performance material, research method and teachable musical craft.

nnirror

Eight pieces of intricate software music where glassy melody, broken rhythm and microscopic debris keep swapping foreground. The code never arrives wearing a lab coat; it behaves like an instrument with private muscle memory.

Olivia Jack

Drawings, code and images become playable instruments and live musical scores.

Outside Time

Outside Time connects Geologist & Kyle Simon to Wired Moth’s map of technology-led music.

Palilalia

Palilalia connects Bill Orcutt to Wired Moth’s map of technology-led music.

patten

Generated sound becomes sample material for fragmented pop and electronic collage.

Paul Riedl

Four slow forests grown while nobody was watching. Analogue tones coil, flower and lose their edges across seventy-seven minutes; less a set of ambient tracks than a weather system caught deciding what shape to take.

Pauline Oliveros

Listening, electronics and collective attention become one expandable musical practice.

Pierre Schaeffer

Recorded sound becomes raw compositional material through cutting, looping and close listening.

Polarity

Four ten-minute drones from one Bitwig Grid organism: less ambient wallpaper than a controlled weather front. The edits slow, darken and roughen the same orbit until repetition starts behaving like depth.

Portrait XO

Songwriting with a machine-learned voice, shaped through human selection and performance.

Power Pool People

Power Pool People connects I'm Gold to Wired Moth’s map of technology-led music.

quiet details

quiet details connects Dane Law & Chants to Wired Moth’s map of technology-led music.

Rafael Lozano-Hemmer

Public participation becomes light, sound and data in large-scale responsive installations.

Rangga Purnama Aji

A live-coded big band assembled from handmade flutes, toy gamelan, rubber bands and unstable probability. TidalCycles does not tidy the chaos; it gives the collisions somewhere to happen. Free jazz rebuilt as a runnable argument.

Raster-Noton

Sound, graphic design and live visuals converge in a sharply defined electronic catalogue.

Refik Anadol

Large datasets become immersive, constantly shifting fields of image and architecture.

Renick Bell

Dense percussion and heavy bass improvised through a bespoke live-coding system.

Richard Devine

Bespoke patches and modular systems produce hyper-detailed electronic rhythm and texture.

Ronen Tanchum

Simulation and machine learning turn bodily presence into responsive digital environments.

Ryoichi Kurokawa

Scientific data unfolds into synchronised sound, image and tactile space.

Ryoji Ikeda

Data and mathematical structures become precise, physical experiences of sound and light.

Samana Records

Samana Records connects CLKDRIFT to Wired Moth’s map of technology-led music.

Scott Eaton

Bodies, motion data and neural systems converge in large-scale figurative work.

_semism_

Three compact transmissions from a laptop rabbit hole: clipped percussion, synthetic pressure and sudden negative space assembled while the code is still warm. It behaves like techno that has learned to edit its own nervous system in public.

Shelly Knotts

Generative rhythms, synthetic textures and networked improvisation in constant dialogue.

Sofia Crespo

Neural models imagine speculative organisms from the visual language of natural history.

Sonic Belligeranza

Sonic Belligeranza connects SONIC BELLIGERANZA to Wired Moth’s map of technology-led music.

SONIC BELLIGERANZA

Sol LeWitt’s grid is shoved through a speedcore lathe until concept, kick drum and counting error become indistinguishable. Four blunt proofs that informational music can still leave bruises.

Sougwen Chung

Human gesture and learned robotic movement develop together through repeated drawing sessions.

Special Low Frequency

Special Low Frequency connects Paul Riedl to Wired Moth’s map of technology-led music.

Stotrojka

Stotrojka connects _semism_ to Wired Moth’s map of technology-led music.

Superblue

A dedicated venue network presents large-scale experiential and technology-led art.

SYNTƏL8

Seven short circuits routed from dancefloor to chillout room. Rave pressure, liquid ambience and clipped rhythmic junk keep changing lanes without losing the pulse: live coding with the social instincts of a good small-hours set.

Taryn Southern

Pop songwriting tests where model suggestions end and human arrangement begins.

teamLab

Networked images respond to visitors and flow across rooms without a fixed frame.

th4

A compact TidalCycles session that values momentum over exposition. The main take and two earlier passes keep the same material unsettled, letting clipped rhythm, repetition and small mutations do the structural work.

The Lumen Prize

An international prize tracks new work made with digital and computational media.

tmhglnd

Three small machines blinking in clean air. A Pure Data patch turns clipped pulse, glassy tone and patient negative space into live-generated miniatures: exacting computer music with enough swing in its joints to escape the vitrine.

Touch

A long-running label connects field recording, experimental electronics and the art of listening.

v4w.enko

A lean, two-part study in sequence and surface. Twelve minutes is enough for clipped pulses, sustained tones and rough-edged digital movement to keep changing their relationship without losing the thread.

Vera Molnar

Small programmed disturbances turn geometric order into a perceptual experiment.

Vibratelepathic Antiviral Broadcasts

Vibratelepathic Antiviral Broadcasts connects Milieu to Wired Moth’s map of technology-led music.

Vicky Clarke

SONAMB

Industrial field recordings become neural rhythms and tactile electronic performances.

William Fields

Self-running systems navigate intricate rhythm, probability and unexpected musical forms.

YACHT

A band rebuilds its writing process around neural models and human performance.

zOaR Records

zOaR Records connects Elliott Sharp to Wired Moth’s map of technology-led music.