We provide an elaborate programme of documented listening tasks, site-specific interventions, small installations and training of basic skills, like recording, use of softwares and critical listening that all of our interns are asked to take part in.
We consider the lab’s internship as a safe space experience were you can focus on the basics and the most important details. It is about actively carving out time to gain knowledge beyond the usual boundaries. Whether you're drawn to writing an essay on spatial practices or composing for spatial audio across a half-sphere of loudspeakers, you're equally welcome here. Bring your field recordings to discuss, or explore site-specificity in VR or AR, whatever direction your curiosity takes, there's a place for it.
Working in our studios and getting access to people, knowledge, skills and ideas, interns are expected to propose an idea of how they can and want to contribute to the lab’s mission and community, and to articulate this concisely within an informal application. The application should also include relevant information about your personal and professional background, a project plan if applicable, and the intended time frames.
apply here
interns
Neval Tarım is a transdisciplinary sound artist, sound designer, and educator based in Istanbul. Her practice draws from architecture and sound art, focusing on the interplay between sound, space, and perception. She combines spatial audio technologies with architectural approaches to create narratives that other new ways of sensing and imagining space.
After earning her degree in Architecture from Istanbul Technical University (ITU), she completed a Master’s in Sonic Arts at the Centre for Advanced Studies in Music (ITU MIAM), where her thesis explored compositional strategies for evoking imaginary spaces through headphone listening. Her work includes spatial sound compositions, site-specific installations, sound design for film, and immersive live performances, often shaped by soundscapes and experimental techniques.
Beyond her artistic practice, Neval contributes to academia through workshops, seminars, and lectures, offering insights into sound production across architecture, urbanism, moving image, still image and music. She has presented her work in exhibitions, concerts, conferences, and screenings both nationally and internationally. She continues to collaborate with students, artists, and local communities to develop methodologies that use sound as a tool for exploration and expression. These practices encourage participants to build collective engagement with their surroundings.
After earning her degree in Architecture from Istanbul Technical University (ITU), she completed a Master’s in Sonic Arts at the Centre for Advanced Studies in Music (ITU MIAM), where her thesis explored compositional strategies for evoking imaginary spaces through headphone listening. Her work includes spatial sound compositions, site-specific installations, sound design for film, and immersive live performances, often shaped by soundscapes and experimental techniques.
Beyond her artistic practice, Neval contributes to academia through workshops, seminars, and lectures, offering insights into sound production across architecture, urbanism, moving image, still image and music. She has presented her work in exhibitions, concerts, conferences, and screenings both nationally and internationally. She continues to collaborate with students, artists, and local communities to develop methodologies that use sound as a tool for exploration and expression. These practices encourage participants to build collective engagement with their surroundings.
Gizem Öz is a multifaceted artist based in Amsterdam, renowned for her roles as a sound artist, contemporary artist, DJ, and producer. Her artistic journey is defined by a deep exploration of experimental music, whether for deep listening, installations, live performances, or dance music.
Drawing inspiration from a wide spectrum of emotions and sensations evoked by our interactions with the universe and our sensory existence, Gizem Öz creates immersive sensory experiences. Her performances and installations challenge perceptions and invite introspection. Using processed field recordings and electroacoustic instruments, she constructs intricate auditory landscapes that serve as pathways for exploration, encouraging listeners to delve deeper into their surroundings.
As a DJ and producer, she creates dynamic and versatile sets that captivate audiences with their intensity. Her performances reflect her passion for electronic music and her ability to create cohesive sonic narratives that resonate long after the music ends.
on and expression. These practices encourage participants to build collective engagement with their surroundings.
Drawing inspiration from a wide spectrum of emotions and sensations evoked by our interactions with the universe and our sensory existence, Gizem Öz creates immersive sensory experiences. Her performances and installations challenge perceptions and invite introspection. Using processed field recordings and electroacoustic instruments, she constructs intricate auditory landscapes that serve as pathways for exploration, encouraging listeners to delve deeper into their surroundings.
As a DJ and producer, she creates dynamic and versatile sets that captivate audiences with their intensity. Her performances reflect her passion for electronic music and her ability to create cohesive sonic narratives that resonate long after the music ends.
on and expression. These practices encourage participants to build collective engagement with their surroundings.
Gaïa Heichal is an NL-based sound artist and an experienced sound engineer. Their focus is mainly on electronic instrument and interface design alongside site-specific sound installations using multichannel sound systems. They perform under the alias birthed–maximalist ambiance laced with black metal influences and shrouded texts. Unveiling fragility within the confines of the harsher edges of electronic music.
At spæs Lab, she was crafting her own interface using conductive rubber bands for both sound production and immediate spatialization. Additionally, she contributed to the production of hybrid compositions, blending acoustic instruments with spatial audio beamforming techniques.
At spæs Lab, she was crafting her own interface using conductive rubber bands for both sound production and immediate spatialization. Additionally, she contributed to the production of hybrid compositions, blending acoustic instruments with spatial audio beamforming techniques.
Julia Cremers graduated with a Bachelor of Audio Visual Arts from the Gerriet Rietveld Academie Amsterdam in 2016 and a Master of Fine Art from the University of Bergen under Brandon LaBelle in 2018. Julia is part of the sound collective Errant Sound and co-organizes the art/science collective Parallax Lab. Her works have been exhibited at Alte Feuerwache Köln, KDK Deichtorhallen Hamburg, Bergen Kunsthall, Eye Film Museum Amsterdam, Museum Perron Oost Amsterdam, amongst others.
Daniele Fabris is a sonic designer involved with live electronics performances, the coding of digital tools for electronic musicians, designing sound for studio productions. He combines creative and technical expertise to develop immersive audio experiences and to research digital musical interactions.
He pursued a BA and MA with the highest distinction in Electroacoustic Music Composition and Multimedia Technologies from the Conservatory “A. Pedrollo” of Vicenza (IT). His formal education includes studies at the Sonology Institute of the Royal Conservatory of The Hague (NL).
TRRSX completed his Master of Fine Arts in Sound at the School of the Art Institute of Chicago in 2016 and has since become a fixture of the club scenes in Berlin, New York, Kraków and Glasgow. In 2017 he founded the label Wodawater, followed in 2023 by the co-founding of exit, an artist-run, independent club and project space in Glasgow. As trsxx, he works with modular synthesis within industrial and technoid sonic territories, and has released several EPs, including "A Mass Deliberately Deprives Itself of Reason" and "The Degree of Difference Between Them". Alongside his solo work, he has also released collaborative vinyl records with Gerriet Krishna Sharma and Verena Lercher in partnership with spæs Lab Berlin, among them “p4rticl3” and “Machine Against Rage.”
In his performances and compositions, he builds sonic spaces in which language and voice are fragmented through modular signal processing, sampling culture and DJ techniques, often drawing on artificial or cloned voices. He performs internationally, including in the USA, the UK, Denmark, Poland and Germany. He is currently pursuing a PhD at the University of Huddersfield, funded by the prestigious Leverhulme Scholarship, researching the cyclical narratives of club closures.
In his performances and compositions, he builds sonic spaces in which language and voice are fragmented through modular signal processing, sampling culture and DJ techniques, often drawing on artificial or cloned voices. He performs internationally, including in the USA, the UK, Denmark, Poland and Germany. He is currently pursuing a PhD at the University of Huddersfield, funded by the prestigious Leverhulme Scholarship, researching the cyclical narratives of club closures.
Elif Gülin Soğuksu is a composer, sound artist, and performer based in Istanbul. Having received both merit-based and achievement scholarships, she continued her education at Istanbul Bilgi University Music Department in 2016. She is currently studying composition and audio technology. She is interested in mixing and crossing performance arts, visual arts, digital arts, and new media to set them into relationships with sounds. She is currently working on sound art projects and composing music, doing sound designs for digital and live theatre, films, performances, and installations.
Juan Giacaman, aka Lazaro, is a sound designer, music producer, and live DJ based in Berlin. He works in sound design for art exhibitions, theater pieces, experimental live shows, and live performances at parties. His focus is the attempt to develop questions through scenic means, address them to the audience, and enter into a discourse with the audience on a non-verbal level. The deconstruction of structures and habits is often central. During the mentoring, he learned how to develop a sound language using spatial audio, which was subsequently applied to the play "IM ANFANG WAR DER ZAUN" at the theatre Schauspielköln.
Hugo Lioret is a sound artist, PhD researcher, and music mediator based in Paris, FR. His work includes electroacoustic composition, free improvisation, audiovisual performance, music for fixed media, sound in situ, sound design through digital processes, field recording, and modular approaches. Hugo studied sound practices with Mathias Delplanque and Hervé Bouley at Radio France in Paris, and at the Institute of Sonology in The Hague. He has a BA in music mediation and an MA in musicology. Hugo has worked at INA GRM in pedagogy and at GMEM CNCM as head of the broadcasting department. Currently, he is responsible for public relations at the contemporary music ensemble 2E2M.
Hugo is pursuing a doctoral research project on organicity through music sociology, musicology, and composition at Sorbonne University, under the supervision of Hyacinthe Ravet and Pierre Couprie, with the artistic assistance of Laetitia Sonami. Curtis Roads is supporting this project. Hugo was in the process of finalizing his latest album. Concurrently, he was integrating analog synthesizer devices with spatialization techniques and conducting research on methods for recording and archiving such compositions.
Hugo is pursuing a doctoral research project on organicity through music sociology, musicology, and composition at Sorbonne University, under the supervision of Hyacinthe Ravet and Pierre Couprie, with the artistic assistance of Laetitia Sonami. Curtis Roads is supporting this project. Hugo was in the process of finalizing his latest album. Concurrently, he was integrating analog synthesizer devices with spatialization techniques and conducting research on methods for recording and archiving such compositions.
Giulia Francavilla is an Italian composer, researcher, and performer based in Turin. With a musical background in noise rock and punk, she graduated in 2018 with a Bachelor's degree in Electroacoustic Composition from the State Conservatory of Music "Giuseppe Verdi" in Turin. In 2021, she completed her Master's degree at the Institute of Sonology in The Hague, where she is currently a research assistant. Francavilla's artistic research is based on immersive sound, listening, and perception and is mainly influenced by the theoretical discourse on embodiment, human-machine interaction, and acoustic ecology. Her main creative tool is coding. Her works are gravitating towards the categories of algorithmic music, VR, and spatial sound. In 2022, Francavilla worked as an artist in residence at the Studio for 3D Sound at the University of Paris VIII and the iMAL Art Center for Digital Cultures & Technology in Brussels with the Kinetic Sound System.
Under the pseudonym Giulia Rae, she explores the overlap between algorithmic music and club-oriented electronic music, performing throughout Europe. She has released her music on Søvn Records, Light Item, and Ovaal. Giulia Francavilla also works as a composer and sound designer for multidisciplinary projects. While at spæs lab, she was putting the finishing touches on a spatial audio piece designed for a loudspeaker-hemisphere setup. Additionally, she was involved in finalizing the lab's archive of multichannel compositions spanning the past 60 years, as well as curating a highly acclaimed listening session.
Under the pseudonym Giulia Rae, she explores the overlap between algorithmic music and club-oriented electronic music, performing throughout Europe. She has released her music on Søvn Records, Light Item, and Ovaal. Giulia Francavilla also works as a composer and sound designer for multidisciplinary projects. While at spæs lab, she was putting the finishing touches on a spatial audio piece designed for a loudspeaker-hemisphere setup. Additionally, she was involved in finalizing the lab's archive of multichannel compositions spanning the past 60 years, as well as curating a highly acclaimed listening session.
Francesco Corvi is an Italian performer, musician, lecturer, and multimedia artist. His artistic practice raises philosophical questions related to phenomenology, posthumanism, and cybernetics, exploring unconventional performance strategies through the development of live coding frameworks, adaptive systems, spatial audio engines, and multimedia environments. In his live performances, he employs open-source programming languages to create music and audiovisual shows at the intersection of computer music, new media art, and deconstructed club. Within the SANG mentoring he explored possibilities of expanding his practice with spatial audio technologies, and specifically with Ambisonics.
Avita Maheen is a Bangladeshi media artist, researcher, writer, and curator currently based in the Netherlands. She graduated from Media Technology (M.Sc.), Leiden University, with a minor in ArtScience Interfaculty at the Royal Academy of Art, NL. Her Master's thesis is a practice-based research on spatial perception and visual restriction in sensory installations, supervised by Edwin van der Heide (NL) and David Howes (CA). Her work explores sonic-sensory modalities, transmedia technologies, non-linear narratives, and autoethnographic research methods. While at spaes Lab, she explored methods of sculpting various sound classes into auditory sculptures, transcending visual references yet perceptible as three-dimensional sonic entities.
Aude Langlois is a sound artist, musician, and sound designer based in Berlin. She holds a Master's degree in Sound Studies from the Berlin University of the Arts and a Bachelor's degree in Music and Musicology from the University of Paris-Sorbonne. Her work can be found in films, documentaries, theater, and music productions. As a performer, she plays guitar, accordion, analog drum machine, and handmade noise machines with granular and delay effects to create experimental sound textures. As a tutor and academic advisor at UdK Berlin and Catalyst Berlin, she encourages listening as the most important means of learning and understanding. During her tenure at spæs, she delved into tools for spatializing her sound works and engaged in discussions on topics such as the dichotomy between lo-fi and hi-fi clichés, as well as our evolving perception of so-called new media, which is increasingly perceived as overpowering rather than sensorially stimulating.
Amélie Nilles is a composer and sound artist based in Paris. During her micro-residency, Amelie focused on investigating how to spatialize sound within a pre-existing piece. She worked on the intricate task of adjusting live sound to synchronize with the performance's stage design, aiming to craft a rich spatial experience for the audience.
Yaaray is a composer, sound artist and vocalist based between The Hague and Paris who deals with poetic meaning in music. Using primarily acoustic sound material with digital audio manipulation, she explores the transferring of meanings between media to compose conceptual musical pieces that aspire to evoke emotion Her work focuses primarily on electro-acoustic composition, sound for film, sound installations, and exploration of spatiality – marked by her involvement with the Institute of Sonology and spaes Lab.
She records instruments and environments, capturing a specific moment, and embracing its imperfections and inherent nuances that cannot be reproduced. By means of improvisation, notation for instruments and creative recording techniques, she often turns to the construction of slowly developing textures with distorted acoustic sounds, and takes a particular interest in poetry, voice and bass instruments.
She records instruments and environments, capturing a specific moment, and embracing its imperfections and inherent nuances that cannot be reproduced. By means of improvisation, notation for instruments and creative recording techniques, she often turns to the construction of slowly developing textures with distorted acoustic sounds, and takes a particular interest in poetry, voice and bass instruments.
Liza Kuzyakova alias Sáof is a composer and sound artist born in Moscow and based in The Hague. Her practice unfolds at the intersection of electroacoustic composition, spatial sound, and experimental live performance, exploring the perceptual tensions within listening–the relationshipy between the materiality of objects, acoustic space, and the imaginative dimensions of sound.
Liza’s works and collaborative projects span a variety of contexts, including acousmatic concerts, contemporary choreography and theatre, films, performances, and exhibitions, and have been presented in venues across Europe, in Israel, and Russia.
Liza’s works and collaborative projects span a variety of contexts, including acousmatic concerts, contemporary choreography and theatre, films, performances, and exhibitions, and have been presented in venues across Europe, in Israel, and Russia.
Daniel L. Lythgoe is an artist, architect, and musician working across media to reflect on the dynamics of anthropogenic environments. Through a conceptual and research-driven approach, his practice encompasses immersive performances, interactive sound sculptures, and site-specific installations that investigate the relationship between sound, space, and perception.
During his internship Daniel explored spatial audio and system-based approaches to sound, focusing on acousmatic composition, light-sound transduction, discrete-time feedback systems, and algorithmic interpretations of graphic scores.
During his internship Daniel explored spatial audio and system-based approaches to sound, focusing on acousmatic composition, light-sound transduction, discrete-time feedback systems, and algorithmic interpretations of graphic scores.
Hilde Wollenstein is a Berlin-based artist working across poetry, performance, and electronic music. She studied Sonology at the Royal Conservatory of The Hague, completing her bachelor’s degree in 2022 and her master’s programme in 2025.
Her practice explores glitch, desire, and digital ghosts, often taking the form of spoken-word performances that merge fragile electronics with poetic narration.
Her practice explores glitch, desire, and digital ghosts, often taking the form of spoken-word performances that merge fragile electronics with poetic narration.
Edoardo Cordero is an artist and researcher working with sound and space. His practice moves between spatial audio and technological systems exploring how sound can shape and reconfigure our relationship to environments. With a background in electronics and digital audio production, he approaches sound both as a material and as a structure, developing works that engage with ambisonics, audiovisual interaction, and spatial composition.
His work unfolds across performance, sound design, and research, often focusing on the dialogue between sound, image, and architectural space. At spæs Lab, he contributes to ongoing investigations into spatial sound practices and their aesthetic and experiential implications.
His work unfolds across performance, sound design, and research, often focusing on the dialogue between sound, image, and architectural space. At spæs Lab, he contributes to ongoing investigations into spatial sound practices and their aesthetic and experiential implications.
