Research Catalogue

an international database for artistic research

• Welke digitale middelen kunnen ingezet worden om aan te zetten tot actieve muziekbeleving? (2025) author(s): Raf Brouns published in: Research Catalogue
  Met de komst van teamteach op verschillende scholen en de vernieuwde eindtermen, is kunsteducatie in de 1ste graad van het secundair onderwijs geweldig achteruit gegaan. Dit is een aanname die meerdere van mijn vakcollega's delen. Dit weet ik vanuit informele gesprekken. De vakspecialist kan zijn vak niet meer geven met de passie en beleving zoals men dat gewend is. Deze verdwijnt zelfs op een aantal scholen en wordt dan vervangen door leerkrachten zonder kunstachtergrond. Dit is bijvoorbeeld bij ons op school gebeurt. Om dit gebrek aan kennis op te vangen, vraag ik me af of we dit gat niet kunnen verkleinen door gebruik te maken van digitale middelen en zo de muziekleerkrachten toch hun stem kunnen laten behouden in de klas. Ook al zou deze virtueel zijn. Let op: ik wil zeker niet de vakleerkracht vervangen door digitale middelen. Ik blijf van mening dat we vakspecialisten voor de klas nodig hebben!
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  Calling Songs (2025) author(s): Johannes Westendorp published in: Research Catalogue
  Calling Songs is a research into the possibilities of using the sounds created by insect and frog choirs in a musical composition/soundscape. An 8-channel speaker system was developed for this purpose, able to stand outside conditions and fitting into a natural environment. The voices of crickets and frogs have characteristics that make them sound almost electronic and therefore blend surprisingly well with the sounds that the muiscians of Zwerm can produce using effectpedals, loop-feedback, modular synthesizers and occasionally a guitar. The listener is invited to question the idea of culture versus nature. For the performers, the central question is how to give non-human life a voice in our artistic practice. Calling Songs is a collaboration between Johannes Westendorp, Zwerm and Pieter Verhees
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  The Sonic Atelier #4 – A Conversation with Iosonouncane (2025) author(s): Francesca Guccione published in: Research Catalogue
  This exposition is part of the series The Sonic Atelier – Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, production, performance, and technology. This interview features Iosonouncane (Jacopo Incani), who reflects on the influences that shaped his formation, the balance between composition, production, and mixing, and the challenges of navigating today’s algorithm-driven music industry. He also discusses his approach to film scoring, the role of spatialization as a compositional parameter, and his views on new technologies such as artificial intelligence and immersive formats. His insights highlight the tensions between experimentation and market logic, as well as the need to preserve complexity and diversity as essential values in contemporary music-making.
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• Insights through spatial visualization of the compositional decisions regarding auditory perception in a hemispherical loudspeaker array (2025) author(s): Jakob Gille published in: Research Catalogue
  This research explores the crucial role of spatialisation within electroacoustic composition through a detailed analysis of a section of the author's work 'Motion', composed in 5th order Ambisonics for hemispheric loudspeaker arrays. It focuses in particular on how spatial analysis tools can reveal perceptual relationships that traditional spectral analysis alone cannot adequately capture. While spectral analysis provides invaluable insight into timbre and frequency content, it cannot show the dynamic interplay of sound sources in a three-dimensional environment. As spatialisation profoundly influences how listeners perceive individual sound events, their interactions and the overall coherence of a composition within a given acoustic space, the analysis of it is even more important. The author also draws on the importance of analysing spatialisation to provide insights that are otherwise not easily understood. One of the many challenges faced by a composer working with multichannel audio is the uncertainty of the actual loudspeaker configuration of the concert space. A spatial analysis of immersive electroacoustic works can provide insights into how these problems can be addressed through compositional decisions based on auditory perception. Such analysis can help composers to anticipate potential problems arising from different room acoustics or listener positions, ultimately leading to a more consistent and effective listening experience in different venues. Linked to this, the research provides an overview of auditory perception within hemispheric reproduction systems, building on Kendall's framework that "listeners experience electroacoustic music as full of meaning and significance, and they experience spatiality as one of the factors contributing to its meaningfulness". Drawing on Bregman's auditory scene analysis, specifically stream segregation, the analysis thus focuses on how spatial techniques can address masking effects through spatial separation, as discussed also in Brümmer's work on the decomposition of sound material through spatialisation. By combining multiple analytical perspectives in the form of spectral analyses, contextualised with spatial analysis tools, this research aims to provide new insights into the relationship between spatial composition and auditory perception in contemporary electroacoustic composition, contributing to the growing body of knowledge on spatial perception and compositional practice in immersive audio environments.
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  Images as Defibrillators: An Attempt to Resuscitate the World (2025) author(s): Giselle Hinterholz published in: Research Catalogue
  This visual essay emerges from a confrontation with interrupted spaces, once places of life and labour, now marked by abandonment. It is not an attempt to document the ruin, but to propose a sensitive listening capable of rediscovering vibration where everything appears still. Inspired by Maurice Merleau-Ponty’s Phenomenology of Perception (1945), I understand the body as a space of resonance with the world, a place where every surface touched by the gaze gains density and breath. Here, the images function as defibrillators: distortions, cuts, and movements inserted into the photographs act as electric shocks, attempts to resuscitate territories that no longer breathe. Each photograph is less a documentary proof of abandonment than a sensitive reverberation, where silence and noise converge. If social and urban abandonment crystallises time, artistic practice seeks to open fissures, to return a pulse to what once seemed lost. Thus, the images do not merely record, they react. The photographic gesture is one of listening and response, not restoration, but insistence that something might still vibrate, even when life has already ceased.
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• 877 Beaivvi (Lohket) / 877 Days (Count them) (2025) author(s): Svea Vikander published in: Research Catalogue
  Work in progress
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