The Electric Well

Willard Van De Bogart

Media Type
Sonic Sculpture
The Ether Ship et al

Thought Pods

#1. Emergence
Black hole step 3 collapse W Alexey Grankowsky

#2. Fluctuation
Through Space and Time Uzbazur

Cosmic Land Luigi Rodio

#3. Transformation
Warpz Abe King

Ex Silentio Rash

#4. Entanglement
Shift Reg Euclidean Lorin Roser

Number Stations Igor Vasiliev

#5. Becoming
Ununpentium Faust Hertz

#6. Symbiotic
Mud Dragger Puck Schot
[The Netherlands]

#7. Self-Organizing
Eventual Fanfare Doug Lynner

#8. Xenolinguistics
Myoglobin Protein Orchestra Across Scales Rhythm, Melody and a Drone Markus J Buehler

#9. Encapsulate
Global Weather Forecast Øivind Olsen

#10. Creativity
That Which Hides (Alone) Paul Toohill

The Electric Well is a collaborative digital sound art piece designed by Willard Van De Bogart. The concept is symbolic of the life giving elements of sunlight and water which nurtures the creation of life and eventually creates consciousness in the universe. The concept is represented by the creation of sound tracks that are placed in Thought Pods which act as language generators to provide ideas for the future growth of the human species in the universe.

The Electric Well is in reference to the deep nature of all plant growth on the planet receiving sunlight as a quantum photo synthesis behavior. The sunlight changes the plant and the roots go deep into the soil where the rain water is charged by the earth and the root structure is very similar to the dendritic organization in the human brain as well as the shape of galaxies. When the plant is fully grown it interacts with the atmosphere giving a healthy environment in which to breathe as well allowing us to have consciousness.

The Electric Well is designed so other sound artists can fill the soil with their own sounds replicating or symbolizing the water of life which facilitates the listener to make associations with the letters to form ideas.  The sounds are meant to enable ideas that become Thought Pods. As the plant flowers and germinates so too does our consciousness as it invents and creates new ideas to share in the world.

The concept of a Thought Pod was born from The Electric Well concept as a way for other Sound Artists to participate in the In Absentia Pavilion. Thought Pods are a community of Sound Artists who contribute to the generation of ideas by submitting an audio sample (mp3, aiff, ogg wave file format) of their work to the below mentioned e-mail address.

A printable PDF is here:
Project PDF
E-mail address:
Project E-mail address
The complete Call is here:
Project Call page


Willard Van De Bogart

Willard Van De Bogart received his Masters of Fine arts from the California Institute of Art where he studied under Morton Subotnick co-developer of the Buchla Synthesizer. Van De Bogart developed a performance ensemble, Ether Ship, using the Electronic Music Labs AKS synthesizer from the UK leading to exhibiting at the American Cultural Center on 3 Rue du Dragon in Paris, France for a piece commissioned by Don Forester, Director, for the 200th anniversary of the United States. Van De Bogart worked alongside Nicolas Schöffer, father of cybernetic art, where intricate displays of sound and light were explored. As a media consultant with NASA he was led to participating in the SETI program. Collaboration with Scot Forshaw, a quantum algorithm designer from the UK, led to exhibiting in Beijing and Shanghai, China for Roy Ascott’s Consciousness Reframed conferences. Further ideas on nano-sound led Van De Bogart to exploring the sounds produced by the newly designed protein synthesizer, Eigenprot, developed by Zhao Qin and Markus Buehler at MIT where his ideas on xenolinguistics were further expanded. Van De Bogart is a member of the Generative Systems Art and Technology Group from Chicago founded by Sonia Landy Sheridan in 1969 and is included in their recent book “Weaving Global Minds” edited by Sheridan. Van De Bogart’s videos can be found on YouTube under Ether Ship as well as sound tracks on SoundCloud. Published papers on his philosophy can be found in the Technoetic Arts Journal published by Intellect UK editor Roy Ascott.

Markus J. Buehler

Markus J. Buehler is the McAfee Professor of Engineering at MIT, and a composer of experimental, classical and electronic music, and an interest in sonification. Using an approach termed “materiomusic”, his artistic work explores the creation of new forms of musical expression – such as those derived from biological materials and living systems – as a means to better understand the underlying science and mathematics. One of his goals is to use musical and sound design as a novel and abstract way to model, optimize and create new forms of matter from the bottom up, and to assess cross-system design relationships. He is also interested in research to explore relationships between classical music, mathematics, and the physical and biological sciences, and in the mapping of models of consciousness across systems. In recent work he has developed a new framework to compose music based on proteins – the basic molecules of all life, as well as other physical phenomena such as fracturing, to explore similarities and differences across species, scales and between philosophical and physical models.


More by chance than reason, Paul Toohill has spent the past 30 years living in Italy. Born in Sheffield, UK, the Coresect frontman has produced electronic music since the age of 13, as well as singing, being a deejay and using photography as ways of expressing his art. He teaches English as a second language and has taught photography to university students.
To keep himself occupied he makes knives, jewellery and drives a 30 year old Land Rover.


Simone Santarsiero, aka Uzbazur, was born in 1992 in Tuscany. His journey begins by a couple of drumsticks, at the age of 4. Snare and charleston of a gift-given drum set transformed the Weber-Fechner law into a playground to him. Simone experiences decibels rhythm and power to reduce and modulate it on the ride. His inspiration is found in the woods around Buti, a charming town where he lives and this brings his fantasy to take root on Tolkien’s robust literature, within its invented languages which he traits inspiration from to create his own pseudonym. At seventeen he crosses the Ambient music of Za Frûmi, a Swedish-inspired fantasy band. From there to the soundtracks the step is short. Today his composition makes extensive use of field recordings to which he then adds studio sounds with Loop, or Drone. Modifying sounds means imagining what you want, with a style that can change considerably. If the sticks lead him to discover Dubstep and Metal, Ambient replenishes harmony both with the cosmos. In this kind of music everyone can see and experience emotions that are sometimes even contrasting — says Simone borrowing poetics from other languages — as if you would read a book. Yes, composing ambient songs is like painting a picture in sound. Someone depicts them like moving dreams, others say they are movies without a film. Fictional material for new ecosemiotics.

Øivind Olsen

Adept to the DIY ethic spread across the Northern Europe, Øivind started in the early 70ties playing organ, bass and keys in cover bands until modular synths and experimental music took over his life. “Now there are only Serge and Buchla modular in my music life” he says, either as Chaotic Morphs or Olsen/Friberg Duo with his colleague Espen. Most of his music can be classified as experimental, ambient with some noise elements. Some of the tracks gain inspiration from pictures, films or other media. “I get inspiration from nature, daily life or travels” — he continues — “and some of the really early electronic music”. In 2016 he has released a cassette as Chaotic Morphs and a cassette as Olsen/Friberg duo 2019. His Chaotic Morphs is a project over self-introspection. With their flaws and hiccups, his electronics loop through lysergic unmanned inner spaces. The earlier pre-built modules afforded him to create from scratch to completion his own DIY Serge modules. “Some of the tracks are only testing different algorythms” — “but other times I get inspiration and create tracks that actually mean something to me. Maybe they only do it just for me” — he chuckles.


Empirical as a hard sip spilling from a discharged battery. There is always a nihilistic fetish in these youngsters dealing with technology. Stefano Martino is never hiding this darkest side in his composition. His machinery becomes a ritual object within wich his human state becomes an algorithmic begging of change making its appearance at warm 50 hertz complacency.
His sound exploration is elaborated through decadent, post-industrial soundscapes inscribing the full failure of a consumer society which noise becomes an evidence whilst its awareness is modeled, reworked within a dystopian hexavalent chromium taste, blended into the future.
Uncannily grainy, definitely remote.

Doug Lynner

American modular synthesist, Doug Lynner, performs experimental electronic music internationally, teaches music composition and synthesis, and, creates modular synthesizer tutorials for the electronic music community. Doug is known for his intimate, “In-The-Circuit” performance style. That style has given birth to his  “Living Synthesis” compositions – part fixed composition, part improvisation, and part circuit immersion. His process is to create unique instruments for each performance that are self-active and cross-influencing in which he participates through direct interaction with each instrument’s autonomic activities through their knobs, switches and patch cords. Basing his aesthetic upon the notion of “sound for sound’s sake” he explores the intrinsic value of sound through mixtures of ambient, avant-garde, rhythmic and soundscape genres. Doug received a BFA in Music Composition from California Institute of The Arts where his mentors were Morton Subotnick, Harold Budd, James Tenney, Leonid Hambro, and, Nicholas England. He was the editor and publisher of Synapse Magazine.

Lorin Roser

Composer and architect studied with Frampton, Ambasz and Taniguichi and played with Bo Diddley, Daniel Carter, Troubleshooters, K-Otics and Elliot Sharp. Collaborated with Stelarc, Hector Canonge, Larry Litt and Vernita Nemec as a performance artist.
Loves analog synths and telecasters and enjoys making experimental videos with Nina Kuo. Shown at the New Museum, The Light Box, White Box and Miami Wynwood.
Wants to create music and architecture for robots.

Alexey Grankowsky

Composer and Producer, created Ambient, Dream, Trance, Electronic. Born in Soviet Union (URSS) half-of-a-life raised in Italy. His research on melodic compositions for ambient, dream, techno and electronic minimal music – mostly arranging sounds with a flare for astronomy and strutting concepts on dance floors. Music, all sounds and melodies are all composed and created entirely by myself in the studio. The music has been developed and played live during shows and live exhibitions. Website

Faust Hertz

Currently based in Barcelona, Catalunya, Faust Hertz aka Fausto Marcon is an Art and Design enthusiast, musical composer, writer, graphic illustrator, independent publisher, multidisciplinary artist. His works, produced in various media and formats, mainly distributed digitally, both visible or audible, are composed by a mix of distortions, imperfections, micro variations, transitional harmonics emerging across the entire frequency spectrum and capturing sinesthesias of unperceived reality. In these days you can find him trickstering around at Mutek events.

Igor Vasiliev

Igor Vasiliev is a music software developer, sound designer and experimenter in his own project Motion Soundscapes. Before starting his own project, Igor spent for many years as a professional software developer in companies engaged in the development of data processing and network applications. But all this time Igor liked sound processing and experiments with sound, and several years ago he decided to combine both his experiences in one project. Now his main area of ​​work in this project consists in the search for an intuitive user interaction with applications that create soundscapes, ambient and experimental sounds, in which users are not forced to adapt to the application, but rather to creatively interact in search of their own sound.

Puck Schot

Puck Schot produces and live-performs music under the name “Acidic Male” and is part of all-female music group “North Sea Wolf Pack”. She combines elements such as live vocals, synthesis and samples together, often distorting them in post-production creating powerful soundscapes. Together with RJM Vanderheyden she also perfoms under ‘Vot’ress’. Together they experiment with synthesis and modulation, creating ambient soundscapes and distortion, layered with spoken word and found-footage. Their performance loosely embraces Shakespeare’s ‘A Midsummer Night’s Dream’, and the role of Robin “Puck” Goodfellow; a demonic, mischievous sprite. Themes involve loss of identity, fecundity and elvish tricks as they explore elements of literary trauma.

Luigi Rodio

Luigi Rodio, aka Luigi De Luca, is an Italian artist – of Garganic origins – he proudly says. Musician, painter, poet, intermedia researcher filmmaker and lecturer. Within his Conservatory of Music training, he studied didactic, composition, conducting. Actually into the field of audiochromatic technique, his artistic career has had different evolutions according to different themes; his intermedia production has mainly focused on musical research applied to graphic art, discovering connections between the two languages providing so the viewer with the possibility of enjoying the pictorial work both soundly and visually. In his latest album “Sidèreo” he focuses more on electronic research related to the ambient space genre.

Abe King

New media artist, Abe King, works with experimental music, video, electronics, software, and kinetic sculpture. His projects explore entropy, and the intersections between the real and the representation, diversifying in vocal performances, cinematic strategies, public engagement, and schematic installations. He graduated with his Master of Fine Arts Degree from the University California San Diego studying under Amy Alexander and Ricardo Dominguez and graduated with his Bachelor of Fine Arts degree at the University of Washington, studying under Shawn Brixey and Juan Pampin. His work has been shown internationally at festivals including the Matera Intermedia Festival, Toronto Electro-Acoustic Symposium, and the New York City Electro-Acoustic Music Festival, and locally at galleries such as Los Angeles Center for Digital Art and La Jolla Historical Society.