spæs Lab offers interns a structured programme of listening exercises, site-specific interventions and small installations, alongside training in both basic and advanced skills – from recording and using spatial audio software to composing in loudspeaker environments and reflecting theoretically. It is conceived as a space for critical engagement with the fundamentals of spatial audio practice, situated at the lab’s own interface of science, practice and knowledge production.
Whether the draw is towards writing an essay on spatial practices, composing in spatial audio, pursuing a cross-disciplinary collaboration, revisiting and discussing existing works, or exploring site-specificity through VR or AR spæs Lab offers scope to pursue it in critical dialogue with its ongoing research into how sound, space and perception shape one another.
Applicants are expected to propose how they wish to contribute to the lab’s community, and to articulate this concisely in an informal application. The application should also include relevant information about their personal and professional background, a project plan where applicable, and their intended timeframe.
Apply here.
interns
Maya Adachi was born and raised in Japan and moved to the United States at 19 to study for her undergraduate degree. She came to architecture somewhat by chance, after a theatre class introduced her to spatial design. A financial aid package, including a Uniqlo Fellowship for students from Japan studying at Harvard University, supported her graduate studies at the GSD.
Since arriving in Cambridge, Maya has focused on spaces that support wellbeing and inclusivity. Her most recent project, with fellow student Madison Kim (MArch ‘25), reimagines underused office space in Boston as cooperative housing.
At spæs Lab Maya was working on the development of ideas for “Speculative Sonic Architecture”, together with Gerriet Krishna Sharma. She conducted research in the lab’s library and multichannel archive, while also writing about possible future pathways for the development of the field. In collaboration with spæs Lab Maya is continuously developing a concept for establishing a transdisciplinary research institution.
Since arriving in Cambridge, Maya has focused on spaces that support wellbeing and inclusivity. Her most recent project, with fellow student Madison Kim (MArch ‘25), reimagines underused office space in Boston as cooperative housing.
At spæs Lab Maya was working on the development of ideas for “Speculative Sonic Architecture”, together with Gerriet Krishna Sharma. She conducted research in the lab’s library and multichannel archive, while also writing about possible future pathways for the development of the field. In collaboration with spæs Lab Maya is continuously developing a concept for establishing a transdisciplinary research institution.
Gaïa Heichal is an Berlin-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, they were crafting their own interface using conductive rubber bands for both sound production and immediate spatialization. Additionally, they contributed to the production of hybrid compositions, blending acoustic instruments with spatial audio beamforming techniques.
At spæs Lab, they were crafting their own interface using conductive rubber bands for both sound production and immediate spatialization. Additionally, they contributed to the production of hybrid compositions, blending acoustic instruments with spatial audio beamforming techniques.
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.
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.
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 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.
Drawing inspiration from a wide spectrum of emotions and sensations evoked by our interactions with the universe and our sensory existence, Gizem 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.
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.
Daniele pursued a BA and MA with the highest distinction in Electroacoustic Music Composition and Multimedia Technologies from the Conservatory A. Pedrollo of Vicenza . His formal education includes studies at the Sonology Institute of the Royal Conservatory of The Hague.
He combines creative and technical expertise to develop immersive audio experiences and to research digital musical interactions.
Daniele pursued a BA and MA with the highest distinction in Electroacoustic Music Composition and Multimedia Technologies from the Conservatory A. Pedrollo of Vicenza . His formal education includes studies at the Sonology Institute of the Royal Conservatory of The Hague.
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 was member of the sound collective Errant Sound and co-organises 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.
Julia was member of the sound collective Errant Sound and co-organises 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.
Miko Szatko, also known as TRRSX, completed his Master of Fine Arts in Sound at the School of the Art Institute of Chicago in 2016, and has since been 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 TRRSX, he works with modular synthesis within industrial, technoid-inflected sonic spaces, and has released several EPs. Alongside his solo albums, he has released collaborative vinyl records, developed at spæs Lab Berlin, with Gerriet Krishna Sharma and Verena Lercher.
In his performances and compositions, he builds sound environments in which language and voice are fragmented through modular signal processing, sampling culture and DJ techniques, often using artificial or cloned voices.
Miko is currently pursuing a PhD at the University of Huddersfield, supported by the Leverhulme Scholarship, researching cyclical narratives of club closure.
In his performances and compositions, he builds sound environments in which language and voice are fragmented through modular signal processing, sampling culture and DJ techniques, often using artificial or cloned voices.
Miko is currently pursuing a PhD at the University of Huddersfield, supported by the Leverhulme Scholarship, researching cyclical narratives of club closure.
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 interested in mixing and crossing performance arts, visual arts, digital arts, and new media to set them into relationships with sounds and is currently working on sound art projects and composing music, doing sound designs for digital and live theatre, films, performances, and installations.
She is interested in mixing and crossing performance arts, visual arts, digital arts, and new media to set them into relationships with sounds and 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 Schauspiel Cologne.
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 Schauspiel Cologne.
Hugo Lioret is a Paris-based sound artist and music mediator working across electroacoustic composition, free improvisation, audiovisual performance, sound design and field recording. He studied sound practices with Mathias Delplanque and Hervé Bouley at Radio France, and at the Institute of Sonology in The Hague. He has worked in pedagogy at INA GRM and as head of broadcasting at GMEM CNCM, and currently handles public relations for the ensemble 2E2M. He is also pursuing doctoral research on organicity in music at Sorbonne University.
At spæs Lab, Hugo finalised his latest album while integrating analogue synthesisers with spatialisation techniques and researching methods for recording and archiving such work.
At spæs Lab, Hugo finalised his latest album while integrating analogue synthesisers with spatialisation techniques and researching methods for recording and archiving such work.
Giulia Francavilla is an Italian composer, researcher and performer based in Turin. She studied electroacoustic composition in Turin before completing a Master’s at the Institute of Sonology, where she is now a research assistant. Working mainly through code, her research explores immersive sound, listening, and perception. As Giulia Rae, she also performs at the intersection of algorithmic and club-oriented electronic music, releasing on labels including Søvn Records, Light Item and Ovaal.
At spæs Lab, she completed a spatial audio piece for a loudspeaker-hemisphere setup, worked on the lab’s archive of multichannel compositions spanning 60 years, and curated a well-received listening session.
At spæs Lab, she completed a spatial audio piece for a loudspeaker-hemisphere setup, worked on the lab’s archive of multichannel compositions spanning 60 years, and curated a well-received 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.
At spæs Lab he explored possibilities of expanding his practice with spatial audio technologies, and specifically with Ambisonics.
At spæs Lab 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.
At spaes Lab, she explored methods of sculpting various sound classes into auditory sculptures, transcending visual references yet perceptible as three-dimensional sonic entities.
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.
At spæs Lab 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.
At spæs Lab 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.
At spæs Lab she worked on the intricate task of adjusting live sound to synchronise with the performance’s stage design, aiming to craft a rich spatial experience for the audience.
At spæs Lab she worked on the intricate task of adjusting live sound to synchronise 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.
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.
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 spæs Lab.
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.
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 spæs Lab.
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.
At spæs Lab 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.
At spæs Lab 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 research into spatial sound practices and their aesthetic and experiential implications, as well as to the development of the lab’s spatial audio tool catalogue.
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 research into spatial sound practices and their aesthetic and experiential implications, as well as to the development of the lab’s spatial audio tool catalogue.
