Research Catalogue

an international database for artistic research

• 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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  The Body That Never Was (2025) author(s): Giselle Hinterholz published in: Research Catalogue
  This project was born from an old discomfort, but only found form when the body — finally — began to speak. A body that, for years, was shaped by obedience, guilt, and restraint. A body that served more to please than to exist. The Body That Never Was is not merely a visual installation. It is a passage. Each frame carries fragments of a story interrupted, silenced, violated — but once told, it becomes a material of resistance. These pieces are not illustrations of pain. They are gestures of defiance. They are symbolic bodies constructed from layers of memory, lived experiences, open wounds, and poorly healed scars. Within them, there are traces of abandonment, escape, abuse, and the absence of protection. But there is also something else: the impulse to persist. The project arises from deeply personal stories, yet it offers a mirror in which other women may recognise their own paths — without fear, without shame, without the guilt inherited from centuries of silence. Here, art does not seek to console. It seeks to expose what was hidden, to name what was smothered, and to open space for other possible forms of existence. More than a healing process, this project is a rite of insurgency against the mechanisms that perpetuate pain as destiny. Here, the wounded matter rises as discourse.
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  Drawing in the In-Between – ma, Intelligens and the Sketch&Draw Method (2025) author(s): Tanja K. Hess published in: Research Catalogue
  On drawing as a practice of the in-between in the sense of the Japanese concept ma. Using the Sketch&Draw method, it is shown that drawing is neither mere representation nor pure invention, but a dialogical process between perception, memory, hand, and world. Neuroscientific models such as Predictive Coding demonstrate that each line is a proposal by the brain of how the world might be, which is then fed back and refined in the process of drawing. The hand appears not as a mere tool, but as a thinking organ, tightly coupled with perception and memory. Referring to Mihály Csíkszentmihályi’s theory of Flow, it is shown that the immediacy of hand drawing – in contrast to digital procedures – is decisive for entering a state in which perception and action seamlessly merge. Philosophical perspectives from Maurice Merleau-Ponty and Tim Ingold highlight that the line is not merely a boundary, but a resonance space in which the invisible can become manifest. Drawing thus proves to be a process of knowledge, one that unfolds slowly, comparable to a species-rich meadow: unplannable, yet not random. In the in-between of world and subject, line and gaze, a form of knowledge emerges that can be understood as Intelligens – a creative third way beyond control and helplessness.
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  Brennan RC (2025) author(s): Julieanna Preston published in: Research Catalogue
  Brennan RC
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