https://spaes.org spæs — lab for spatial aesthetics in sound Berlin Tue, 10 Jun 2025 10:31:07 +0000 https://spaes.org en https://spaes.org/cover-page Sun, 09 Apr 2023 07:56:48 +0000 spæs — lab for spatial aesthetics in sound Berlin https://spaes.org/cover-page spæs lab for spatial aesthetics in sound Berlin https://spaes.org/manifesto Sun, 09 Apr 2023 07:56:53 +0000 spæs — lab for spatial aesthetics in sound Berlin https://spaes.org/manifesto manifesto What if we understood spatial audio not as a technique, but as a way of thinking—about perception, composition, and the spaces we inhabit? #01Throughout the past century, the awareness of space has affected all kinds of disciplines. #02 With the introduction of spatial audio technologies, the production of sonic spaces has become a growing field of interest for many creatives including composers and sound designers—and for diverse audiences.#03 Still, the vast majority of research and creative practice aims to refine technologies and methods to (re-)create a naturalistic auditory experience — paying little attention to the question of how we experience space in its various dimensions, including the phenomenological, the social, and the emotional space.#04Similarly, creatives limit themselves by formulating and realizing their ideas sourced from technology-enabled effects.#05 For now, it seems that we have entered a phase of vast, loud, colorful and impressive sound images, compositions, effects — overwhelming and highly sensational, but often restricted by a limited focus on a software-hardware-in-use-debate.#06 Are we just throwing around sounds? (Jonty Harrison, 1999)#07 Despite that many recent spatialized musical works treat the space as an after-thought applied only after the piece is done composing, many composers working in the field of spatialized music are convinced that an understanding of the function of spatial characteristics is a crucial prerequisite to the work.#08 Ultimately, spatial audio technologies are just the tools to translate ideas into concrete listening experiences—a too often forgotten fact—but spatial sound is rarely discussed, evaluated, and reflected with all the multifaceted dimensions of space.#09 We don’t know enough. For example, there is little shared agreement on the understanding of the basic terms such as sound or space, of its multiple relationships, and of the implications to applying this knowledge to the various fields including art, music, design, theatre, film, architecture, scenography, etc.#10 Being aware of the structural limitations of academic and commercial institutions, we are establishing an independent lab dedicated to the interdisciplinary study of the spatial aesthetics in sound. https://spaes.org/core-concepts Sun, 09 Apr 2023 09:15:28 +0000 spæs — lab for spatial aesthetics in sound Berlin https://spaes.org/core-concepts key concepts soundis a dynamic and contextual phenomenon that emerges from the interactions between bodies, environments, and technologies. It actively shapes our experiences and perceptions, influencing how we engage with the spaces we inhabit. -&gt; read more space is a vibrant and relational construct that evolves through our perceptions, movements, and interactions. It is continuously co-created through the interplay of sound, body, and environment, reflecting the dynamic nature of our experiences. -&gt; read more aestheticsis a vital practice that actively shapes perception and experience through sound and space. It arises from the rich engagement of the senses, cultural contexts, and creative intentions, guiding our processes of composition, listening, and inhabiting the world. https://spaes.org/introduction Sun, 09 Apr 2023 07:56:50 +0000 spæs — lab for spatial aesthetics in sound Berlin https://spaes.org/introduction spæs lab is a Berlin-based collective that explores how sound shapes spaces and influences human experience. We collaborate with artists, designers, researchers, and engineers from diverse fields to explore innovative approaches to thinking about and working with sound as space. spæs lab explores how space becomes meaningful through listening. In contrast to dominant approaches to “spatial audio,” where experience is shaped by technical parameters or pre-imposed conceptual frameworks, we begin with what actually happens to the senses. Our work attends to the emergence of spatial phenomena—tonal gestures, bodily responses, affective resonances, and symbolic associations—as they unfold in perception. We approach sound not as something placed in space, but as a medium through which space itself is composed. Through scenographic practice, research, and public engagement, spæs lab investigates how listening constructs spatial meaning—inviting more attentive, interpretive, and situated approaches to immersive sound. https://spaes.org/about-header Sun, 09 Apr 2023 07:56:51 +0000 spæs — lab for spatial aesthetics in sound Berlin https://spaes.org/about-header We see the advancement of immersive media and artificial environments as an ongoing challenge—one that extends beyond creating and designing content. It also involves developing the tools, technologies, and methods that shape the interrelation between sound and space. https://spaes.org/people Tue, 09 Jul 2024 04:44:18 +0000 spæs — lab for spatial aesthetics in sound Berlin https://spaes.org/people founding partners The journey of spæs lab began when we first met at the international conference Sounding Out the Space in Dublin, where we discovered our shared fascination with the spatial aesthetics in sound. Inspired by the event’s focus on the spatiality of sound, we envisioned an independent lab that would explore the myriad ways in which sound shapes space. Determined to move beyond the constraints of academic and commercial frameworks, we founded spæs lab to foster interdisciplinary collaboration. Combining our backgrounds in sound art, research, and scenographic design, we created a space where artistic, scientific, and technological perspectives merge, advancing the auditory qualities of immersive media and artificial environments. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/901b0da975a47e4717595227bf603e2c306b25e2a00a9a8403db4a94f95b0dbc/IP4B2174-Gerriet.jpg" data-mid="214344654" border="0" src="https://freight.cargo.site/w/1000/i/901b0da975a47e4717595227bf603e2c306b25e2a00a9a8403db4a94f95b0dbc/IP4B2174-Gerriet.jpg" />Gerriet K. Sharma, sound artist, composer, artistic researcher, founding partner of IKO weave and spæs &gt; read more <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/45764c26c5ceb6439261af6ce9f1d7e210265b619d4d6c66760d130e266678b7/IP4B2161-Johannes.jpg" data-mid="214344655" border="0" src="https://freight.cargo.site/w/1000/i/45764c26c5ceb6439261af6ce9f1d7e210265b619d4d6c66760d130e266678b7/IP4B2161-Johannes.jpg" /> Johannes Scherzer, sound scenographer, founding partner of TAUCHER, MNTN, and&nbsp;spæs &gt; read more https://spaes.org/about-header-copy Tue, 10 Jun 2025 10:31:07 +0000 spæs — lab for spatial aesthetics in sound Berlin https://spaes.org/about-header-copy We believe that spatial aesthetics is an everyday practice—an ongoing act of world-making. Whenever we compose or arrange sounds, we shape how people experience their surroundings. Sound becomes more than something we hear; it becomes a raw material, a building block for how we perceive and understand the world. In this practice, the loudspeaker holds a unique place. It is both a tool and an instrument—a way to place sound within space, to give it direction, shape, and texture. Through this, we explore how sound moves, how it interacts with surfaces and volumes, and how it colors the air around us. For over 20 years, our collective has been driven by curiosity and a commitment to collaboration. We bring together voices from the arts, architecture, music, design, XR, and more, creating a space where ideas flow freely and disciplines merge. This convergence enables us to cultivate critical reflection and deepen our understanding of how sound, space, and human experience intersect. Our work exists at the intersection of science, practice, and academia. This dynamic exchange of ideas and skills fuels our ongoing exploration of spatial aesthetics. We are committed to pushing the boundaries of how sound and space coexist, inviting new practices and perspectives to emerge. https://spaes.org/residency Sun, 09 Apr 2023 07:57:02 +0000 spæs — lab for spatial aesthetics in sound Berlin https://spaes.org/residency The spæs residency program offers a unique opportunity to advance artistic research, design experimentation, and the creation of methods that emphasize the spatial aesthetics in sound. → Read more and how to apply current &amp; former residentsEric Raynaud <img width="1136" height="1520" width_o="1136" height_o="1520" data-src="https://freight.cargo.site/t/original/i/26ba2711cbd98ba987dd3b2bf3a750538bb9fe6e5d40b39898c0707af0245937/Screenshot-2026-02-25-alle-17.02.33.png" data-mid="245344703" border="0" src="https://freight.cargo.site/w/1000/i/26ba2711cbd98ba987dd3b2bf3a750538bb9fe6e5d40b39898c0707af0245937/Screenshot-2026-02-25-alle-17.02.33.png" /> Eric Raynaud, known as Fraction, is a Paris-based composer and sound artist working across performance, installation, and immersive audiovisual environments. His practice focuses on sound as a spatial and physical medium, combining generative systems, custom software, and spatial audio techniques to create site-sensitive works. Bringing together sound design, visual systems, and scenographic structures, his work explores perception, spatial transformation, and the material conditions of sound at the intersection of art, architecture, and technology. Alongside composition, he develops software, publishes music, and engages with experimental and noise-based aesthetics as part of an ongoing research-driven practice. Among his key works are DROMOS, an audiovisual performance premiered at MUTEK Montréal&nbsp;in 2011 and later featured by&nbsp;Apple, and Entropia (2016–2018), developed during a research residency at the Society for Arts and Technology in Montréal and presented internationally. In 2018, he took part in the 4DSOUND residency in Budapest and the artistic research program at IRCAM. Raynaud has received several international recognitions, including the Digital Arts Prize from the Institut Français, and was selected for the SHAPE European platform. In 2024, he was appointed associate composer at L’Hexagone Scène Nationale by the French Ministry of Culture, reflecting his ongoing contribution to immersive sound practices and contemporary audiovisual art.https://www.instagram.com/fraction_is_noise/?hl=it Robin Koeck <img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/572b6e90d53eff557be87188332255785871e10d37a06b1f74ddf5f3be1d4b22/Progetto-senza-titolo.jpg" data-mid="245344020" border="0" src="https://freight.cargo.site/w/1000/i/572b6e90d53eff557be87188332255785871e10d37a06b1f74ddf5f3be1d4b22/Progetto-senza-titolo.jpg" /> Robin Koek is an enterprising sound artist who aspires to nurture a new cognitive understanding of the world surrounding us mediated through art and education. His work reflects on the environment integrating field recordings and site-specificity in composition and installation practice, researching the spatial nature of sound in both the physical and virtual realm. He constructs immersive experiences at the intersections of these worlds merging analog, digital and acoustic phenomena. These augmented realities are sculpted out of code, sensing devices and media projections developed in interdisciplinary teams. These realities can be experienced as dynamic environments in which sensory feedback to the interactor is an essential component. His recent works explore a transhumanist approach in which technology plays an important role to explore new forms of interspecies communication and mutual understanding fostering new art ecologies.https://www.instagram.com/visionsofvisions/ Joe Stratton <img width="6123" height="4082" width_o="6123" height_o="4082" data-src="https://freight.cargo.site/t/original/i/82841db5e0321a6e6687fb44c50a9448841e069854d847bdd9b064a8770b3e65/Daniel-L.-Lythgoe-Im-an-artist--architect--and-musician-working-across-media-to-reflect-on-the-dynamics-of-anthropogenic-environments.-Through-a-conceptual-lens--I-create-immersive-performances--.jpg" data-mid="245343988" border="0" src="https://freight.cargo.site/w/1000/i/82841db5e0321a6e6687fb44c50a9448841e069854d847bdd9b064a8770b3e65/Daniel-L.-Lythgoe-Im-an-artist--architect--and-musician-working-across-media-to-reflect-on-the-dynamics-of-anthropogenic-environments.-Through-a-conceptual-lens--I-create-immersive-performances--.jpg" /> Joe Stratton (aka Bothelbows) is a musician, engineer, and sound designer based in the US. While usually producing music to accompany video, his current focus is spatial audio: composing for immersive environments where people can experience sound in new and unexpected ways. Using ambisonics, Dolby Atmos, and recently 4D, his work is meant to be heard on all sides, above and below the listener. Best known for his work with the theatrical rock group Not Blood Paint, he intends to continue challenging audiences to look beyond the surface of their experience, outside their comfort zones, utilizing spatial audio technology now in place of guitars and costumes (often still including costumes). https://www.instagram.com/bothelbows/ Dugal McKinnon <img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/65ec9f61f7c2b9739c6bfb568a4740c822c31b0ce190f79d03da35cf55d4d65d/Progetto-senza-titolo.jpg" data-mid="245343971" border="0" src="https://freight.cargo.site/w/1000/i/65ec9f61f7c2b9739c6bfb568a4740c822c31b0ce190f79d03da35cf55d4d65d/Progetto-senza-titolo.jpg" /> Dugal McKinnon works at the intersection of sound, music, language, and acoustic, visual, and digital media, developing projects that combine artistic research with technological experimentation. His works include This Storm Is Called Progress (2016), created with Grayson Cooke, an audiovisual installation shortlisted for the&nbsp;Waterhouse Natural Science Art Prize&nbsp;(South Australian Museum); Lost Oscillations (2015), with Jim Murphy&nbsp;and&nbsp;Mo H. Zareei, a touch-based augmented reality sound installation commissioned by the&nbsp;Audacious Festival of Sonic Arts; and let x = (2014) for icosahedral loudspeaker and 24-channel loudspeaker array, commissioned by the Institute of Electronic Music and Acoustics. He has been artist-in-residence at the Institute of Electronic Music and Acoustics (Graz), ZKM | Center for Art and Media (Karlsruhe), and STEIM (Amsterdam). He holds a doctorate in composition from the University of Birmingham, completed while he was a guest artist in the electronic music studios of the Technical University of Berlin. His recent writings focus on ecological and material practices in sound-based art. He is Deputy Director of the New Zealand School of Music&nbsp;and Co-Director of the&nbsp;Lilburn Studios for Electronic Music.https://sounz.org.nz/ Alexander Tillegreen<img width="1215" height="1519" width_o="1215" height_o="1519" data-src="https://freight.cargo.site/t/original/i/debdd412581849ec256dc79e65758302b824880e0bbfccb1d3712d9c20237f8c/Progetto-senza-titolo.jpg" data-mid="245343284" border="0" src="https://freight.cargo.site/w/1000/i/debdd412581849ec256dc79e65758302b824880e0bbfccb1d3712d9c20237f8c/Progetto-senza-titolo.jpg" /> Alexander Brix Tillegreen is a visual artist and composer working between Copenhagen and Berlin. His practice spans printmaking, painting, sculpture, sound installation, and composition, exploring how perception, abstraction, and embodied listening generate meaning. His visual works function as resonant spaces shaped by rhythm, spatiality, and chromatic tension, while his sound works investigate language, voice, and psychoacoustic phenomena, particularly the phantom word illusion, foregrounding how meaning emerges through listening. In 2023, he presented newly commissioned works at the Darmstädter Internationale Ferienkurse für Neue Musik&nbsp;and released his debut album in words on the German label rastermedia. His work has been shown internationally, including at&nbsp;Nikolaj Kunsthal,&nbsp;CCA Glasgow,&nbsp;Museum Tinguely,&nbsp;MMK Museum für Moderne Kunst,&nbsp;Roskilde Festival, and&nbsp;CTM Festival. https://www.alexandertillegreen.com/ Francesco Palmieri <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/402f9a9e8ab7b51ff5588d67fb7183b73d8eae5f949b20468cb93f9c8151006a/20231019_1.jpg" data-mid="245323126" border="0" src="https://freight.cargo.site/w/1000/i/402f9a9e8ab7b51ff5588d67fb7183b73d8eae5f949b20468cb93f9c8151006a/20231019_1.jpg" /> Francesco Palmieri is an Italian classical and electric guitarist based in Berlin. His artistic practice focuses on contemporary music performance, combining instrumental research with an interest in sound spatialization and performative contexts. During his internship at spaes, Francesco explored how spatial audio technologies can be integrated into contemporary music performance, investigating the relationship between guitar sound, space, and listening experience. He is currently pursuing a PhD in Artistic Research in Music at the Malmö Academy of Music.https://www.francescopalmieri.eu/ Matthew D. Gantt <img width="6123" height="4082" width_o="6123" height_o="4082" data-src="https://freight.cargo.site/t/original/i/f85f76d5f5430b5e0c7c23643aa61ceec485d226cadfb42608c9a34a4605f436/Progetto-senza-titolo.jpg" data-mid="245322876" border="0" src="https://freight.cargo.site/w/1000/i/f85f76d5f5430b5e0c7c23643aa61ceec485d226cadfb42608c9a34a4605f436/Progetto-senza-titolo.jpg" /> Matthew D. Gantt is an artist, composer, and educator based in Troy, NY. His practice focuses on sound in virtual spaces, generative systems facilitated by idiosyncratic technology, and digital production presets as sonic readymades. He worked as a studio assistant to electronics pioneer Morton Subotnick from 2016- 2018 and has been an active participant in the international creative community, presenting or performing at spaces such as Pioneer Works, Issue Project Room, Roulette, Babycastles, SVA Visible Futures Lab, Feral File, IRCAM, ICST Zurich, and countless DIY venues and grassroots organizations. During his residency at spæs in the summer of 2024, Mathew worked on the auto-reactive installation Jon Hassell Boids, blending his distinctive audio-visual aesthetics with spatial elements and interpretations of the materials he employed. He made extensive use of our loudspeaker half-sphere while also creating an extraordinary audio-visual triptych featuring small screens and 3-channel mono spatialization. https://www.instagram.com/gan.tttt/ Mári Mákó <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/c65e55a2d36c0a51783c6220dcd93c55c3bc142e1dcafc64edea4f671558c3d9/SANG-Mentoring---Mari-Mako-BW.jpeg" data-mid="214420170" border="0" src="https://freight.cargo.site/w/1000/i/c65e55a2d36c0a51783c6220dcd93c55c3bc142e1dcafc64edea4f671558c3d9/SANG-Mentoring---Mari-Mako-BW.jpeg" /> Mári Mákó is a sound artist and composer based in Rotterdam and Berlin. Her work has been described as avant-garde electronic and post-club, characterized by a controlled yet abstract complexity in her music. She builds her own instruments to produce unique and unconventional sounds in her compositions. These practices are informed by her research interests, which include the ecology of listening, experimental notation, interactive design, and conducting processes. She is pursuing her Doctor of Liberal Arts program at MOME in Budapest and participating in residencies between Rotterdam and Berlin. Mári has been working on adapting a tactile stone interface for spatialization and sound composition. Additionally, she has been preparing a live set for multichannel performances in Ambisonics while incorporating a powerful software tool developed by spæs lab fellow Daniele Fabris into her musical repertoire.https://marimako.com/ Zhao Jiajing <img width="6240" height="4160" width_o="6240" height_o="4160" data-src="https://freight.cargo.site/t/original/i/566685194167122883fd15c1c6ced2089c614c46f90a5e4b00ff7e5fc6a6a6a5/SANG-mentoring---Zhao-Jiajing-BW.jpg" data-mid="214420163" border="0" src="https://freight.cargo.site/w/1000/i/566685194167122883fd15c1c6ced2089c614c46f90a5e4b00ff7e5fc6a6a6a5/SANG-mentoring---Zhao-Jiajing-BW.jpg" /> Zhao Jiajing, hailing from China, is a composer, sound artist, and new media artist currently based in London. He completed his studies at the Royal College of Art in 2022, majoring in Information Experience Design with a focus on Sound Design. Jiajing's work encompasses a variety of disciplines, such as spatial sound, new media, performance, and installation. His work is inspired by time, consciousness, chaos, and surveillance themes. He explores sound as a pathway to multiple worlds. Using field recordings, sound collages, and granular synthesis techniques, he creates immersive sonic experiences that stimulate multi-sensory imagination. His work has been showcased at prominent venues, including Old Street Gallery, EiS Immersive Audio Conference, and IRCAM. Since 2019, he has actively collaborated with trailblazing theatre groups, performers, and installation artists to provide music and sound for their projects. Jiajing has been developing an alternative interface solution for spatializing analog live sounds by experimenting with different methods of integrating a Theremin with Ambisonics spatialization software at @spaeslab. He has also been working on a new composition customized for a half-sphere setup, which has earned him an invitation to the 2024 New York Electronic Music Festival.https://zhaojiajing.com/ Verena Lercher <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/9e8d503e460c68227a8da387efc5cfc11698e3309a49cc397020f42510f13c78/IMG_7037-1.jpg" data-mid="214481611" border="0" src="https://freight.cargo.site/w/1000/i/9e8d503e460c68227a8da387efc5cfc11698e3309a49cc397020f42510f13c78/IMG_7037-1.jpg" /> Verena Lercher is an award-winning media artist based in London and Berlin with a 15-year background in professional stage play, theatre ensemble work, and off-production performance. She had ongoing collaborations with Christoph Schlingensief, Anja Behrens, Søs Gunver, Anna-Sophie Mahler, Krystian Lupa, Alexander Giesche, and Bram Jansen. From 2018 to 2020, she was a postgraduate student in exmedia at the Academy of Media Arts Cologne (KHM, DE). Since 2021 she is engaged in practice-based artistic research on Sounding out Identities of the Artificial Voice with Adrian Heathfield, P.A. Skantze, and Angus Carlyle (GB).www.verenalercher.com Andrea Parkins <img width="960" height="720" width_o="960" height_o="720" data-src="https://freight.cargo.site/t/original/i/5bf6bbb7f1b7a60e8dfae71352fcb525033aee9d05e6233c23c9608db0de7bbd/AndreaParkins_FrstMini-Fest_Visby_photobyTrondLossius.jpg" data-mid="215182988" border="0" src="https://freight.cargo.site/w/960/i/5bf6bbb7f1b7a60e8dfae71352fcb525033aee9d05e6233c23c9608db0de7bbd/AndreaParkins_FrstMini-Fest_Visby_photobyTrondLossius.jpg" />photo: Trond Lossius Andrea Parkins is a Berlin-based sound artist, composer, and electroacoustic musician who engages with interactive electronics as compositional/performative process. She is known for her pioneering gestural/textural approach on her electronically processed accordion and investigation of embodiment and chance with her custom-designed software instruments. www.digitalinberlin.de/andrea-parkins https://spaes.org/open-call Tue, 09 Jul 2024 04:56:28 +0000 spæs — lab for spatial aesthetics in sound Berlin https://spaes.org/open-call how to apply: spæs residency program We invite artists, designers, practitioners, engineers, scholars, and researchers from all disciplines whose work critically engages with sound and space as aesthetic practice. Contributing to a diverse and emerging body of shared knowledge is at the core of the spæs residency program. We encourage residents to focus on process and experience rather than on a finished outcome. Residents are also asked to reflect on, document, and share their work publicly in some form.The spæs residency is not primarily concerned with working in spatial sound as a production format. Instead, it is dedicated to investigating the spatial aesthetics of sound: how sound participates in the perception, organization, and meaning of space, and how spatial relations emerge through listening.&nbsp;While many residents work with multichannel sound, loudspeaker systems, or immersive audio environments, the residency is not focused on producing spatial sound works as an end in itself. Projects are expected to treat spatial sound not merely as a medium or format, but as a question, a condition, or a method for inquiry. The residency program runs year-round, with no fixed application deadlines. Residency periods are scheduled individually, based on mutual availability and project requirements. what we offer The residency takes place in Berlin, Germany. During your time here, you will have access to one of the two studios and receive a technical introduction to its facilities. These resources support the residency’s primary focus on reflective, process-oriented inquiry into the spatial aesthetics of sound. Residents are supported through dialogue and exchange, including mentoring, consultations, training, and technical guidance where this serves the inquiry at hand. Support is oriented toward critical reflection, methodological development, and situated listening practices, rather than toward production supervision or finished outcomes. Depending on the lab’s schedule, residents may be invited to take part in communal activities, such as listening sessions, where work-in-progress, questions, or observations are shared and discussed collectively. fee structure spæs is an independent, non-funded organization. The residency fee does not finance studio rent or generate profit. It contributes to covering a part of the time, care, and infrastructural work required to host the residency, including preparation, mentoring, technical support, and the ongoing maintenance of the lab. The fee allows us to sustain the residency program while remaining independent.The fee for the program to be paid by the artist is €980.00 per week, which includes five working days and a total of 5 hours of personal support. The residency program offers flexible durations, dividing more extended work periods into several non-consecutive weeks if desired. Additionally, we can arrange accommodation at the spatial audio loft at a rate of €80 per night. application Please send your application via email and include the following information: Explain how your proposed work approaches sound as a spatial practice, and what you aim to investigate, question, or make perceptible about spatial experience through sound, and how it engages with the lab’s interest in the spatial aesthetics of sound. (Maximum 1.500 characters, including spaces).Provide up to five links to previous works that inform or contextualize your proposed residency work.Describe any support you would need beyond the basic technical introduction to the studio, and why this support is relevant to your inquiry (maximum 800 characters, including spaces).Indicate which&nbsp;studio you would prefer to work in.Indicate the intended duration of your residency and your preferred time frames. Describe your funding situation for the proposed residency and how you plan to cover the residency fee (maximum 500 characters, including spaces). If you have any questions, please feel free to contact us. We look forward to receiving your application. https://spaes.org/internship Sun, 09 Apr 2023 07:57:03 +0000 spæs — lab for spatial aesthetics in sound Berlin https://spaes.org/internship Our internships are closely tailored to the ideas of spæs lab. As we consider everyone entering our labs being intrinsically interested and motivated to support our mission as well as we are to foster like-minded artists, designers, scientists, practitioners and theorists working on the understanding of sonic spaces and the aesthetics of sound as space in the 21st century, you do not pay us. Instead, we aim to support your work at spaes with complementary funding when available. 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. This is strictly and only for the benefit of our guests to give them the opportunity to concentrate on important details that we normally take for granted or never have the time for to learn or just need feedback while there is no one around. 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 you taking actively a time out to gain knowledge outside the box. You want to write an essay on spatial practices? You are as much welcome as with a composition for spatial audio with a half-sphere of loudspeakers. You want to discuss your field recordings, or work on site-specificity in VR or R? In any case, you are most welcome. Three day visiting programmeIn our three day visiting programme you can find our how we are working, assist on what we are currently working on, listen, read, and draft and discuss a project that you follow up with in one of the larger spæs programs. One week project development programmeIn our one week project development programme you can discuss, distill, condense, and refine a certain interest together with us. Throughout the course of a week, we support you actively to develop your project, connect you with new ideas, people, concepts, workflows etc. which enable you to learn and produce within the framework of your chosen project.Three week internship programmeWithin a period of three weeks you become part of one of our spaes LAB projects, giving you the opportunity to learn while you are working with us actively on artistic or design projects* (e.g. performances and installations), on the library's content and structure, on the development of new research fields, on the planning of events, on contributing to the lab’s social media communications, on writing articles and publications for manifold contexts, or trying out or developing new technologies for production of space. *In cases where you directly contribute to funded or commercial lab projects, we surely will share the project money among the team according to the individual amount of work. How to apply Working in one of our facilities, 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. Please send your application to: hello@spaes.org Please provide any attachments, PDFs, downloads etc. via links, e.g., to dropbox, google drive, or wetransfer. current &amp; former internsMiko Szatko<img width="1440" height="810" width_o="1440" height_o="810" data-src="https://freight.cargo.site/t/original/i/26865251b45e783965d237067c892ff64e7268633f32d135dc864a545884bca3/Miko-Szatko-BW.jpg" data-mid="214420104" border="0" src="https://freight.cargo.site/w/1000/i/26865251b45e783965d237067c892ff64e7268633f32d135dc864a545884bca3/Miko-Szatko-BW.jpg" /> Miko Szatko is a Glasgow-based electronic musician, artist, and DJ, also known as @trssx__ He got his MFA in Sound from the School of the Art Institute of Chicago in 2016 and has worked extensively within the club scenes of New York, Krakow, and Glasgow. In his performances and compositions, he creates environments that defragment language and speech of disembodied sampled, artificial, and cloned voices, critically employing modular processing and various DJ tropes. He performed internationally in the US, the UK, Denmark, Poland, and Germany, and he composed for film and theatre.www.instagram.com/trssx__/ Gaïa Heichal<img width="1440" height="810" width_o="1440" height_o="810" data-src="https://freight.cargo.site/t/original/i/d87c15b39231f7a2d79d01987547227d4f73b5e10809e629b2c928f6552062d4/Gaia-Heichal-2.jpg" data-mid="214416317" border="0" src="https://freight.cargo.site/w/1000/i/d87c15b39231f7a2d79d01987547227d4f73b5e10809e629b2c928f6552062d4/Gaia-Heichal-2.jpg" /> 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.&nbsp;At spæs, 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. www.instagram.com/birthed__/ Julia Cremers<img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/3de8fa92b9a575d7fb59bb2fe2d8cf80045069d1a208b82531fd9f13e4131973/JuliaCremers_SpaesLab.jpeg" data-mid="214416380" border="0" src="https://freight.cargo.site/w/1000/i/3de8fa92b9a575d7fb59bb2fe2d8cf80045069d1a208b82531fd9f13e4131973/JuliaCremers_SpaesLab.jpeg" /> 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.www.instagram.com/juliacremers Daniele Fabris<img width="1280" height="1280" width_o="1280" height_o="1280" data-src="https://freight.cargo.site/t/original/i/69c7416ae61d7dd6deaa694652175d3edc1a85c22d4e763ad85abfd31fae93e9/IMG_7637.jpg" data-mid="214481614" border="0" src="https://freight.cargo.site/w/1000/i/69c7416ae61d7dd6deaa694652175d3edc1a85c22d4e763ad85abfd31fae93e9/IMG_7637.jpg" /> 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). https://www.instagram.com/daniele.fabris/ Elif Gülin Soğuksu<img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/36fe62cd985b28a37dc83c74b67703f3853fb4c98d1f7cd6ce1a50639aa3f944/IMG_3118-BW.jpeg" data-mid="214416755" border="0" src="https://freight.cargo.site/w/1000/i/36fe62cd985b28a37dc83c74b67703f3853fb4c98d1f7cd6ce1a50639aa3f944/IMG_3118-BW.jpeg" /> 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. elifsoguksu.wordpress.comJuan Giacaman<img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5ef7396eff30de2cff1e9b7ff8ee9a95ee5f3a0da51c39cd264649430f3a8b50/Juan-Giacaman.jpg" data-mid="214416835" border="0" src="https://freight.cargo.site/w/1000/i/5ef7396eff30de2cff1e9b7ff8ee9a95ee5f3a0da51c39cd264649430f3a8b50/Juan-Giacaman.jpg" /> 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.www.instagram.com/lazaro.o0/ Hugo Lioret<img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/a271b7d3e298255aaaca902eef962062028a9db32284409d5052c47eba1a5d2c/SANG-Mentoring---Hugo-Lioret-BW.jpeg" data-mid="214417294" border="0" src="https://freight.cargo.site/w/1000/i/a271b7d3e298255aaaca902eef962062028a9db32284409d5052c47eba1a5d2c/SANG-Mentoring---Hugo-Lioret-BW.jpeg" /> 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.https://hugolioret.com/Giulia Francavilla<img width="1212" height="756" width_o="1212" height_o="756" data-src="https://freight.cargo.site/t/original/i/d2822024018713dc52fdf813c860b341ef45749c0f4bbce3f7e91c4ad1c0fb30/SANG-Mentoring---Giulia-Rae-2.jpeg" data-mid="214417603" border="0" src="https://freight.cargo.site/w/1000/i/d2822024018713dc52fdf813c860b341ef45749c0f4bbce3f7e91c4ad1c0fb30/SANG-Mentoring---Giulia-Rae-2.jpeg" /> Giulia Francavilla (Giulia Rae) 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 &amp; 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. www.giuliarae.com/Francesco Corvi<img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/7d28d32abc4c4aa6e58702a882e0f5e0332e29a557c1d35e872cfb19a4ea615b/SANG-Mentoring---Francesco-Corvi-2.jpeg" data-mid="214418451" border="0" src="https://freight.cargo.site/w/1000/i/7d28d32abc4c4aa6e58702a882e0f5e0332e29a557c1d35e872cfb19a4ea615b/SANG-Mentoring---Francesco-Corvi-2.jpeg" /> 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. https://linktr.ee/nesso.xyzAvita Maheen<img width="2490" height="1638" width_o="2490" height_o="1638" data-src="https://freight.cargo.site/t/original/i/b5d85a6a341664f1d6c55e29d3811a6281f0c4a98c6e7ed0ade78d37d7235dda/SANG-Mentoring---Avita-Maheen.jpeg" data-mid="214418754" border="0" src="https://freight.cargo.site/w/1000/i/b5d85a6a341664f1d6c55e29d3811a6281f0c4a98c6e7ed0ade78d37d7235dda/SANG-Mentoring---Avita-Maheen.jpeg" /> 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 @spaeslab, she explored methods of sculpting various sound classes into auditory sculptures, transcending visual references yet perceptible as three-dimensional sonic entities.https://www.instagram.com/p/C6EGV_nNgpr Aude Langlois<img width="1150" height="1038" width_o="1150" height_o="1038" data-src="https://freight.cargo.site/t/original/i/46f4f59e250d545a7580adca7468f76ea62e3a330b12251e555e58091ece069d/SANG-Mentoring---Aude-Langlois.png" data-mid="214418757" border="0" src="https://freight.cargo.site/w/1000/i/46f4f59e250d545a7580adca7468f76ea62e3a330b12251e555e58091ece069d/SANG-Mentoring---Aude-Langlois.png" /> 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.https://audelanglois.com/Amélie Nilles<img width="2560" height="1920" width_o="2560" height_o="1920" data-src="https://freight.cargo.site/t/original/i/5050075920db1323719342cf125cda03988ecdf01c60cf7c8b142a05bfcafe9f/20231206_124735.jpg" data-mid="214420049" border="0" src="https://freight.cargo.site/w/1000/i/5050075920db1323719342cf125cda03988ecdf01c60cf7c8b142a05bfcafe9f/20231206_124735.jpg" /> 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. www.instagram.com/amelie_nilles/Yaaray <img width="6123" height="4082" width_o="6123" height_o="4082" data-src="https://freight.cargo.site/t/original/i/9899f97ce9f71a2d246435c7e28a1805b5682fd01494190db019912b4f882065/Progetto-senza-titolo.jpg" data-mid="245322589" border="0" src="https://freight.cargo.site/w/1000/i/9899f97ce9f71a2d246435c7e28a1805b5682fd01494190db019912b4f882065/Progetto-senza-titolo.jpg" /> 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&nbsp;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 in Berlin. 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. https://yyaarayy.com/ Liza Kuzyakova<img width="6123" height="4082" width_o="6123" height_o="4082" data-src="https://freight.cargo.site/t/original/i/17db3f078e4ae8304f0ca18bb3b448cfd6c2ccb145c39e31de53cdd7f2b804c2/Daniel-L.-Lythgoe-Im-an-artist--architect--and-musician-working-across-media-to-reflect-on-the-dynamics-of-anthropogenic-environments.-Through-a-conceptual-lens--I-create-immersive-performances--.jpg" data-mid="245324027" border="0" src="https://freight.cargo.site/w/1000/i/17db3f078e4ae8304f0ca18bb3b448cfd6c2ccb145c39e31de53cdd7f2b804c2/Daniel-L.-Lythgoe-Im-an-artist--architect--and-musician-working-across-media-to-reflect-on-the-dynamics-of-anthropogenic-environments.-Through-a-conceptual-lens--I-create-immersive-performances--.jpg" />Liza Kuzyakova (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. Her 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. https://www.instagram.com/l.saof/ Daniel Lythgoe <img width="1080" height="1350" width_o="1080" height_o="1350" data-src="https://freight.cargo.site/t/original/i/fc7ae03330efcfb87509ccdc83ec38fceff39d26114017c6c5d4b9736de1c266/Progetto-senza-titolo.jpg" data-mid="245323769" border="0" src="https://freight.cargo.site/w/1000/i/fc7ae03330efcfb87509ccdc83ec38fceff39d26114017c6c5d4b9736de1c266/Progetto-senza-titolo.jpg" /> 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. https://lythgoe.studio/ Hilde Wollenstein <img width="6123" height="4082" width_o="6123" height_o="4082" data-src="https://freight.cargo.site/t/original/i/f1868898750760cd6c35ab70cdac007548ea0beca2d8910315744ba431490466/Daniel-L.-Lythgoe-Im-an-artist--architect--and-musician-working-across-media-to-reflect-on-the-dynamics-of-anthropogenic-environments.-Through-a-conceptual-lens--I-create-immersive-performances--.jpg" data-mid="245323932" border="0" src="https://freight.cargo.site/w/1000/i/f1868898750760cd6c35ab70cdac007548ea0beca2d8910315744ba431490466/Daniel-L.-Lythgoe-Im-an-artist--architect--and-musician-working-across-media-to-reflect-on-the-dynamics-of-anthropogenic-environments.-Through-a-conceptual-lens--I-create-immersive-performances--.jpg" />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. https://www.hilde-wollenstein.com/ &nbsp; Edoardo Cordero <img width="1784" height="2310" width_o="1784" height_o="2310" data-src="https://freight.cargo.site/t/original/i/ca145839173c9a4822974671413d8bd238d6fc4166120bd4b61d8424446772e1/pic_edoardo_cordero.jpg" data-mid="246229980" border="0" src="https://freight.cargo.site/w/1000/i/ca145839173c9a4822974671413d8bd238d6fc4166120bd4b61d8424446772e1/pic_edoardo_cordero.jpg" />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. https://www.instagram.com/edoardocorde/