Category: Research

This project centers on the creation of an interactive sound sculpture that integrates a spatial audio setup. It is part of an ongoing exploration into interdisciplinary art practices that fuse space, sound, listening, and archeoacoustics. By employing an empirical art research method, the outcomes of this investigation are materialized through the development of this and similar projects. This work embodies a practice-based, interdisciplinary approach. Instruments and their environments are approached as catalysts for a deeper understanding of our surroundings and our relationship to them. Listening becomes the connective tissue that binds these concepts together. Through this process, I have come to recognize the necessity of treating these disciplines as a cohesive whole. While the media form an integral part of the designed acoustic space, sound remains a pivotal element in the creative decision-making process. The use of sound enhances the potential interplay between multimedia and listening, leading to new ways of theorizing how knowledge can be generated through sound and auditory experiences. At Spaeslab, the focus is on developing a 3D spatial extension of this sound sculpture, grounded in the principles of archeoacoustics—the study of sound in ancient structures and its role in cultural and ceremonial contexts. Although the field of archeoacoustics is still in its nascent stages, with no universally established methods for recreating the acoustics of historical spaces, this project aims to delve into this uncharted territory. The exploration includes the implementation of a multichannel speaker system, for which expert guidance is sought to bring this vision to fruition.

Research project “Resonant Artifacts” with spatial designer Iris van der Wal.

Resonant Artifacts explores the potential of applying concepts from archaeoacoustics with contemporary analog techniques to create acoustical designs for objects. Inspired by findings such as the resonant metal vessels in Greek theaters, acoustic pots in French chapels, and acoustic mirrors in the UK, we examined how past cultures used acoustics to shape their environments for the human voice. Previously in my practice I have composed on multichannel speaker systems to create unique acoustics however, in this research collaboration with Iris, we were able to take a more physical and analog approach to acoustics. Through extensive material research and physical experimentation we developed resonant objects using experimental materials that produce distinct acoustic phenomena.

As a finale we created a sonic playground with the Rotterdam Singing Club, providing an ear-bending fun experience, perfectly concluding our theoretical research.

Supported by the Creative Industries Fund NL – Experiment Grant, OMI gallery Rotterdam, and Het Wilde Weten Rotterdam.

Atmospheres and Architectonics Conference, 10-12 February 2025
Conference Hosted by: Doctoral School of Moholy-Nagy University of Art & Design,
Budapest & Aetmostudio (MOME)
Conference Partners: Hungarian Forum for Somaesthetics; University of Naples
“L’Orientale”; Somaesthetics and the Arts Center of the Academy of Fine Arts in Krakow,
and the European Somaesthetics Network.
Peer conference: Somaesthetics of Atmosphere at Florida Atlantic University, 7-8 November
2024

The research explores how embodied listening deepens our connection to
space through the use of designed acoustical sound objects. Listening plays a crucial yet often unconscious role in how we emotionally and physically engage with the environments we inhabit.
The research emphasises the significance of spatial awareness through active listening. Historical and artistic examples demonstrate the essential role of listening in shaping our perception of the environment. In the field of archaeoacoustics, handprints found in caves reveal the most resonant spots, suggesting that prehistoric humans had a deep awareness of the acoustic qualities of their shelters. Resonance as an auditory effect was an important factor how in how early humans lived in their shelters. Additionally, in ancient Greek theaters, acoustic bronze vessels were used to amplify voices from the stage, suggesting the theory of using objects to alter acoustics in order to improve their experience.

As an artistic methodology, composer Pauline Oliveros developed a practice based on her
connection to space through listening. While performing in a cistern, she became aware of how
the acoustics influenced her music, an experience that later inspired her renowned Deep Listening
practice. The acoustics of the space catalyzed her profound, embodied listening, allowing her to
improvise with great sensitivity to her environment. Distinctive acoustics alter how people engage
with their surroundings. However, in our everyday lives, unique acoustics are not easily accessible. Resonant Artefact builds on these ideas by asking: What if we bring architectonics directly to our ears? Can designed acoustic objects help us achieve embodied listening and expand our sensory
boundaries? These questions form the core of the research, which investigates how acoustical
sound objects (such as acoustic mirrors, mini resonant chambers, and cones) can ignite similar
experiences to those found in prehistoric caves with resonances. To explore this further, a case study will be presented: a workshop in Rotterdam, led by together with Dutch spatial designer Iris van der Wal, involving an anti-choir group. Hands-on, or rather “ears-on,” experimentation is crucial, so before the workshop we designed and built various acoustic objects to test the Resonant Artefact research with the participants. The group used custom-designed acoustic objects (mini resonant chambers combined with wires) to rediscover their environment through listening of the resonances. By engaging with these objects, they experienced new ways of perceiving their bodies in relation to space. Deep Listening exercises were incorporated to enhance this exploration, encouraging participants to expand their sensory awareness through external auditory stimuli and rediscover sensory augmentation.