Research Catalogue

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  Almat - Iteration EG (last edited: 2018) author(s): Hanns Holger Rutz, David Pirrò, Erin Gee This exposition is in progress.
  Discourse and materials pertaining to the experimental iteration with Erin Gee, during the Algorithms that Matter (Almat) artistic research project.
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• Commentary: Touching Thinking (last edited: 2018) author(s): Joa Hug This exposition is in progress.
  This research exposition is under construction.
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  Performing with Plants - Att uppträda/ samarbeta med växter (last edited: 2018) author(s): Annette Arlander This exposition is in progress.
  EN This exposition documents and archives the artistic research project performing with plants. SVE Denna exposition dokumenterar och arkiverar det konstnärliga forskningsprojektet att uppträda/samarbeta med växter.
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  Using Participatory Visualization of Soundscapes to compare Designers’ and Listeners’ Experiences of Sound Designs (2018) author(s): Iain McGregor published in: Journal of Sonic Studies
  There are numerous rules and well-established guidelines to help designers with the visual appearance of interactive technologies. In contrast, when it comes to the use of sound, there is a paucity of practical information regarding design for euphony, excepting musical composition. This paper addresses this hiatus by describing a theoretically based, practical method for evaluating the design of the auditory components of interactive technologies and media. Specifically, the method involves eliciting the auditory experiences of users of these technologies and media and comparing them with what the sound designers had intended. The method has been comprehensively tested in trials involving 100 users (listeners), and the results have been described as “useful” and “invaluable” by a group of 10 professional sound designers.
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  The Harley Effect: Internal and external factors that facilitate positive experiences with product sounds (2018) author(s): Elif Özcan published in: Journal of Sonic Studies
  Everyday activities are laden with emotional experiences involving sound. Our interactions with products (shavers, hairdryers, electric drills) often cause sounds that are typically unpleasant to the ear. Yet, we may get excited with the sound of an accelerating Harley Davidson because the rumbling sound represents adventure or an espresso machine pouring cappuccino because the sound signals an upcoming relaxing event. These examples demonstrate that it is often difficult to predict how pleasant or unpleasant a product sound is and that the circumstances surrounding sound events (i.e., external factors) can influence our judgment regarding those sounds. This paper discusses these external factors and provides a technical support for this notion. It will further present implications that could influence future product designers. Furthermore, the aim of this paper is to re-position the role of sound in human-product interactions.
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  Tuned In and Hands On: Sound Designers Beyond Technical Expertise (2018) author(s): Isabelle Delmotte published in: Journal of Sonic Studies
  The term sound designer is a relatively new addition to the professional roles in a film sound crew. Its use can be traced to the 1970s when the dismantlement of some major Hollywood studios gave space for more experimental approaches to film making. A study on acoustic ecologies and cinema sound allowed for creative and altruistic collaborations with some Australian cinema professionals. Subsequent face-to-face interviews and correspondence with the participants to the study pointed to the humanity and concerns at play behind the screen. It is apparent that the capacity of sound designer cannot be pigeonholed: it oscillates according to the demands of a film production and depends on its director’s and financial backers' sonic awareness. Amongst professional sound makers themselves exists a lack of consensus on the role and importance of the position of sound designer. The author proposes a way to lessen professional ambiguity and increase public recognition of atmospheric cinema sound. Invoking atmospheric sound at the inception of an audio-visual narrative could reward its makers and audiences in unsuspected ways. To acknowledge sound designers as architects of sensations and, by the same token, include viscerality and affect as creative elements of film production, could lead to a different appreciation of our lives in sound.
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Johannes (Jos) Mulder
Netherlands (citizenship)

Bernt Isak Wærstad

Gerko Egert
Germany (residence)

Benedict Olk
Sweden (residence), United States (citizenship)

Paul Deneer

Meghan Moe Beitiks
United States

Melle Kromhout
Netherlands (residence)

huRRa!!
Germany (residence)

Max Franklin
France, Netherlands (residence), Australia, United Kingdom (citizenship)