Jay Afrisando
multimedia artist, music composer, researcher, educator.


Employing multisensory approaches, he shares awareness of aural diversity, acoustic ecology, and everyday technological interactions. His works invite others to (re)examine our notions of living entities, ecosystems, and technology. He challenges conventional artistic disciplines and boundaries using various approaches including video, spatial audio, fixed media, improvisation, and various collaborative methods.


His works have been presented at Sound Scene, Walker Art Center’s Virtual Cinema, ARGOS Projector: The Faraway Nearby, MOXsonic, Sonic Salon Winter, In Situ: Festival for Electronic Music and Sound Art, Aural Diversity Conference, October Meeting Contemporary Music & Musicians, Seoul International Computer Music Conference, International Computer Music Conference-New York City Electroacoustic Music Festival, Landmark to Lowertown, Linux Audio Conference, Disability Awareness Week, Drone Not Drones, and Fifteen Minutes of Fame.


His works have been presented at various spaces, including Smithsonian Hirshhorn National Museum of Modern and Contemporary Art, Moon Palace Books, Attenborough Arts Centre, Fridman Gallery, George Latimer Public Library, Saint Paul Union Depot, Center for Computer Research in Music and Acoustics, Cedar Cultural Center, Seattle Art Museum, Montalvo Arts Center, and National Gugak Center.

He has collaborated/worked with composers, instrumentalists, a signer, vocalists, visual artists, choreographers, dancers, writers, mobile app programmers, sound engineers, an actor, stage directors, videographers, researchers, and viewers-audiences, including Bill Davies, Josephine Dickinson, Ed Garland, Alan Jacques, Jamil Haque, Gelsey Bell, J-Sun, Yan Pang, Arif Angga, Lee Noble, Black Pencil Ensemble, Duo Gelland, Gamelan Kyai Fatahillah, Katie Kummerow, Michael Duffy, Alex Lubet, Mondo Gascaro, Katya Shilonosova, Ng Chor Guan, Daniel de Mendoza, Terry Perdanawati, MN Qomaruddin, Banu Antoro, Gading Paksi, Ere Lievonen, Arend Grosfeld, Anne Veinberg, Slamet Gundono, Dewa Budjana, gamin, Djaduk Ferianto, Purwanto, Jen Shyu, Jemek Supardi, and Cedric Hanriot.

He is a Jerome Hill Artist Fellow 2021-22 (US); a grantee of the Next Step Fund 2020 by the Metropolitan Regional Arts Council (US); the recipient of the ABT Award 2020 by the Art Music Today (ID), Black Pencil Ensemble (NL), and Trace21 (NL); and a OneBeat Fellow 2015. He also received the Ambassador's Award for Excellence 2019 by the Ambassador of the Republic of Indonesia for the United States (US), the 2016 Minnesota Emerging Composer Award by the American Composers Forum (US), Hibah Seni Karya Inovatif (Innovative Art Grant) 2016 by Yayasan Kelola (ID), and the 2nd Prize Winner of Prix Annelie de Man 2015 Composers Competition (NL).

He participated in the Improvising Ecosystem 2017 at the Hubachek Wilderness Research Center (MN, US); the OneBeat 2015 residency in California, Oregon, and Washington (US); the 2014 International Fellowship in Study of Korean Music at National Gugak Center (KR); and the Hackteria Lab/Akustikologi 2014 at Bumi Pemuda Rahayu Sustainability Center (ID).

He is the initiator and a collaborator at Jay & Gatra Wardaya, a group focusing on text-based and contemporary music. He is also a collaborator at TIGAtrio, a trans-continent improvisation group. In addition, he is a collaborator of CHANT, collaborative research by researchers of the University of Minnesota, Ohio State University, and the University of Louisiana Monroe, centering on the nexus of culture, healing, art, nature, and technology.

He has published various works, including a book chapter “Music-making in Aurally Diverse Communities” in Aural Diversity (Routledge, 2022—forthcoming), telematic improvisational film “Expanding the Frame Live” in collaboration with Lee Noble (Walker Art Center’s Bentson Mediatheque, 2021), soundscape album “Rangkaian Pagi untuk Dikenang” (2021), score for one-hand piano “Tangguh” (2021), track “Gunung Singgalang” in Alex Lubet’s solo album Three Strings and the Truth: New Music for Mountain Dulcimer (2020), and graphic score “Water Siter” (Donemus, 2015).

He is currently practicing and conducting most of his activities in Miní Sóta Makhóčhe, the land of the Dakhóta Oyáte, also known as Minnesota.

Artist Statement

I use multisensory approaches to raise the human consciousness on complex issues that emerge because of bodily diversity and ever-changing tools. These include hearing and listening, politics on technology and sciences, disability and accessibility, and cultural and environmental issues.

I capture such complex phenomena using various modalities, including but not limited to audiovisual, spatial audio, creative coding, improvisation, participatory performance, and fixed media. Through these modalities, I amplify voices and notions conveyed by diverse and underrepresented bodies (both human and non-human) and minorities.


Because of the phenomena’s complexity, my projects and methods tend to be “antidisciplinary,” meaning what and how I work falls into an area beyond the available disciplines and requires proficiency in separate, unrelated existing fields.