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Electronic Music Festivals Hire Art Curators Now | The Creators Project

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But not anymore, because the future is visual. These days, performances look a lot like how they sound: sometimes big and dazzling, other times abstract and experimental, and often quasi-scientific if you happen to be Amon Tobin . Live gigs are increasingly turning into hotbeds of room-filling spectacle.A heady combination of LED walls, projection mapping, sound visualization and other technical wizardry almost guarantees mindfuckery. The industry is chugging along healthily toowhile they certainly don't make Afrojack-level big bucks , top VJs these days charge upwards of $100,000 for an hour and a half of tour-quality video. (Visual artists at concerts, however, make far less.) If you need further evidence of the rising importance of visual whizbang in electronic music, look no further: The Brooklyn Electronic Music Festival, which unfolds over three days in Williamsburg this weekend, hired an art curator this year to ensure maximum stimulation of everyones visual cortexes. And not just any stodgy old guy who shuffles around dusty museums. Were talking Paul Amitaia former Senior Curator at Eyebeam , New Yorks epicenter of everything related to art and technology. Paul Amitai Paul also curated last years festival, but this year presented a host of new challenges: namely, figuring out how to coordinate a coherent spectacle across seven wildly different http://online.wsj.com/article/PR-CO-20131113-907207.html venuesranging from the velvet-roped nightclub Output to the barebones warehouse 285 Kent, with cafe-style venues like Cameo and glossy rock bars like Brooklyn Bowl falling somewhere in between. Paul took a breather from the mega shitshow circus that Im assuming is his life right now to answer all my burning questions about how to curate an electronic music festivaland drop some intel on old-school rave balloons and disco ball-inspired mirror domes that will fill this year's spectacle. THUMP: Hey Paul! What have you got cooking for us this weekend? Paul Amitai: Im working mostly with a group called Glowing Pictures two guys who do live visuals for all kind of acts, from the Beastie Boys to Animal Collective. Benton and Owen of Glowing Pictures One thing Ive always wondered is how you discern what kind of art works better with a certain style of music. I think theres something quite different from Oneohtrix Point Never and John Digweed, just like there are differences between straight DJ sets that are more dancefloor-oriented and others that are more abstract and experimental. So is there a direction correlation between experimental music getting abstract visuals, and dancefloor stuff getting more, like, representational visuals? I actually think it might be the opposite. If you have a banging house set thats more dancefloor-oriented, people arent necessarily as focused on just looking at the stage.

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