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Miguel La Corte is a music producer, designer, developer and artist. His work focuses in composing new instruments that enable us to reflect on the potential and responsibility of our modern cybernated condition. 

His instruments, participative installations and research have been presented within CTM Festival 2023 in Berlin, Goethe-Institut Venezuela and within HKW Berlin, Centre Pompidou in Paris and CCCB in Barcelona through the Cultures d’avenir program. 

In parallel, he works as a freelance IDE (Innovation Design Engineer); Prototyping tools for learning, well-being, and creative expression in collaboration with EdTech/HealthTech enterprises, startups, universities, and clinics. 

︎︎︎ Projects

︎︎︎ Writings

︎︎︎ About 
Miguel La Corte is a music producer, designer, developer and artist. His work focuses in composing new instruments that enable us to reflect on the potential and responsibility of our modern cybernated condition.

His instruments, participative installations and research have been presented within CTM Festival 2023 in Berlin, Goethe-Institut Venezuela and within HKW Berlin, Centre Pompidou in Paris and CCCB in Barcelona through the Cultures d’avenir program.

In parallel, he works as a freelance IDE (Innovation Design Engineer); Prototyping tools for learning, well-being, and creative expression in collaboration with EdTech/HealthTech enterprises, startups, universities, and clinics.


About <<Ensamble>>
October 2024
Published within the context of <<Ensamble>> and audio visual installation presented in Carmen Araujo Art Gallery in Caracas, 2024.
This essay propose <<Ensamble>> as a means to archive and express social and cultural history through rhythm, an essential element for understanding both self and society.


This text was published within the context of 2023 Cultures d'Avenir program, and thanks to the funding and support from the Franco-German Youth Office (FGYO). This essay speculates on an alternative model of culture distribution that is free from the platform-native systems of commodified attention. 


Essay presented as the introduction of CC0 (Collective Control 0, a participative installation that occurred in Berlin within CTM Festival 2023.

Full 32 page booklet I designed for the CC0 (Collective Control 0 participative installation presented in Berlin at CTM Festival 2023. It contains a description of all the instruments present in the installation, an important summary of the project background and a series of essays on the potential of networked/participative musical experiences.


The PAL (Participative Audio Lab) was a proposed initiative in conjunction with CTM Festival which unfortunately couldn’t materialize. This essay presents PAL and reviews the possibilites and potential of networked instrumentation within our current cultural landscape.

Originally founded in 2016 as an electroacoustic piano restoration company. Since 2022, Myriorama now focuses on researching, documenting, and developing new innovative instruments, with special focus on the potential of public and collective instrumentation.

Research essay presented within undergraduate Sound Engineering program. It contains a chronological showcase of the different technological implementations that have defined our general interaction with music reproduction equipment. Based on this context, a new model which seeks for the standardisation of a participative-based musical experience is proposed. Ultimately a range of possible outcomes from the standardisation of participative musical experiences are presented.

This essay was presented as part of Goethe Institute’s: Rethinking electronic music in Venezuela program.