• digital turn
• sound art
• convergenze culture
• post.internet art
• advance electronic music
• avant-garde digital arts festivals
• post-techno
• conceptronica
• MIRA Festival
• Nicolas Jaar

In this thesis we will deal globally with two main fields: on the one hand electronic music and, on the other, the world of art, creating an axis between the two, around which this thesis will revolve. Starting from a historical framework that studies the convergences of sound in art in the twentieth century and the phenomenon of rave parties, we will position in the 90s, to examine the phenomenon of convergence between advanced electronic music and artistic practices in the era post-Internet.
Artistic proposals that have to do with the world of new media art, digital art and sound art, which appeared in the late 90s and proliferated from Internet 2.0 onwards, through avant-garde digital and web festivals, and which give music a main value. We will analyze the activity of the artists who, recognized for their work as musicians, are often omitted from the manuals of contemporary art history, from new media and post-internet art, which however we consider vital for our axis of research.
We will investigate how digital avant-garde festivals or advanced festivals emerge and consolidate, addressing the case study of the MIRA Digital Arts Festival (Barcelona). We will observe what the processes of creation and artistic production of the artists of this generation consist of, in a detailed and specific way, through the analysis of the work of the Chilean-New York artist Nicolas Jaar.
We will pay attention to the factors that guide this dialectic between electronic music and other artistic forms typical of the post-internet era, with particular attention to the progressive arrival of technology, the uses and forms of consumption of the new digital devices and Internet 2.0. To conclude, we will try to join these convergence points to draw tangent lines in this story of hybridization between music and arts in the decade 2010-2020.