Research Catalogue

This exposition reflects on how machine learning can be integrated with algorithmic composition and live coding to expand digital music creation. The research examines how ML-driven sound analysis, training data, and interactive models reshape compositional workflows. By viewing machine learning as an interpretative and generative process rather than a mere tool, this project challenges conventional boundaries between data gathering, system design, and artistic practice. The discussion is framed through experimental approaches that merge sound synthesis, live coding, and model training, questioning how algorithmic systems can act as both agents of composition and reflective mirrors of musical intention. Through the interplay of structured data, generative models, and exploratory workflows, the study situates machine learning within a broader conversation about creativity, computation, and the evolving role of the composer-programmer.

Building-Sound Compositions in (half-)public places: Starting from Graz, six vacant buildings in different European cities were researched as aural architectures and understood and experienced as an integral part of building-sound compositions. Techniques and strategies ​​were developed how sound art can react systematically to site-specific architectual conditions or how these environmental acoustic characteristics can become part of a previously non-existent composition.

What triggered me to start this research is the multiplicity of reality. How something is represented, how it actually is and then how we all perceive it in our very own way. In that sense reality doesn’t exist, only versions of it. The lack of awareness of this multiplicity affects a lot our lives; what we believe, what we take as granted and how he behave.Through this practice based research I am experimenting on how to create moments of surprise and realization for the spectator. I work with copies and representations, replicas as I like to call them. The Replicas can be made of different materials, can be virtual or very physical. Until now I used scale models, mirrors and projections but the list is endless; so are the different ways to use the replicas or the impact that they will have. The way that the replicas are introduced to the spectator and their interaction is also very crucial in my work and another field to research. The movement and the body play a significant role to this. The special relationship that we have with our body, the way that we perceive it and how the movement can reset these relations and affect how we experience things.

The photographic image has always historizised; an artifact of the past, photographic moment. But just as it is conditioned by the temporal and material context of its making, its essence – if there is one – is conditioned by how we encounter the image. This encounter involves both the situation in which the image is seen and our individual selves in relation to it – our histories, beliefs, and expectations. To further reflect on this unstable, temporal quality of the photograph, we explore the meaning of looking at the future by looking at photographs. Artistically and philosophically a contradiction in terms, it is still a practice we experience: How to look ahead with something temporally bound to the past. To do this, we reflect on ‘Regarding the Pain of the Future’ by the first author and develop and discuss an artistic practice emphasising a second, photographic moment.

Welcome to Galaxy Revolution, the space station of Historical Spiritual Vibrations space agency. At the station you can access training sessions and game instructions we use to imagine training and healing practices for the new space race. You can experience glimpses of our space journeys and learn more of the history of the tools and knowledge we bring with us on our missions. Dock at our space station and (mis)use our methods to reshape and imagine the past, present, and future in your own way. The exposition gathers documentation of Whyte&Zettergren's live actions and ritual practices at locations in Iceland where the Apollo 11 astronauts trained for their journey to the Moon. It also includes infrared imagery, a technology used in space visualization to capture light waves invisible to the human eye, recorded during the duo’s space journeys. The duo explores space both as a site where future colonial projects are planned and as a fictional realm for imagining alternative worlds. In their work, Zettergren's speculative technofeminism and Whyte's ritual dubfuturism intersect. Practices that reshape futures in various ways; through an intersectional feminist and technocritical lens, and through the experimental remixing of history, ritual, and rhythm in dub culture. When the present feels dystopian, dreams of life in space become a way to envision change, a transformation of the world through imagination, whose echoes vibrate into the future.

”Fata Morgana. An Essay Journey” explores the optical phenomenon of the Fata Morgana and its mythical namesake, Morgain Le Fay, as a figure of thought to explore transcultural and transgeographical relationships between landscape and identity. Conceived as an essay journey with artistic interventions, Fata Morgana argues for rethinking imagined geographies against the territorial bigotry prevalent in Europe and the world, against essentialist ideas of singular or linear origins. Instead, Körschkes uses Fata Morgana as a motif, myth and method for artistic research, employing its ephemerality and “diffuse occurrences” to relocate places into other places, narratives onto other narratives, and thus brings together different spatialities, temporalities and identities into brieftopian co-existence.