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Articles
Techno on Canvas: Rethinking Audiovisual Practice in the Age of AI
Techno on Canvas brings electronic music, abstract oil painting and instrument-making into one cross-modal performance system. It explores cross-art, cross-medium and cross-body practice, asking why interdisciplinary human creativity matters as AI becomes increasingly multimodal.
The Sound Object — Ambiguity and Presence in the Age of Spatial Sound
Comparing Volumiphonic Arrays and the Slovox Perun24 at Rencontres Acousmatiques reframes a core question: Is spatial sound an engineering problem or an exercise in perceptual ambiguity? Exploring Patrick Kizny’s space-first and established acousmatic compositions, we examine space as a mediator.
It sounds like someone imagining us
AI music platforms can fake a "Chinese" or "Indonesian" sound in seconds. But can they tell a guqin from a gamelan — or just the surface markers listeners expect? A university class tested two AI platforms and found plenty of the latter, very little of the former.
Building Worlds with Sounding Future
How do you document a walk-through sound installation? From this question, Worlds was born: a browser-based tool by Sounding Future that lets composers and curators build walkable 3D sound worlds – without writing a single line of code.
Sowing the Latent Field: SEMILLA.AI, Sovereignty, and uncovering the Black Box
SEMILLA.AI is a neural audio instrument built against the sealed black boxes of commercial AI: named after the Maya seed glyph for zero, trained on small, consented datasets instead of scraped corpora. In version 2, seeds cast into a circular world-space become attractors in a physics simulation that drives the decoder directly — no encoder, no prompt, no sound that has ever existed before. Moisés Horta Valenzuela on artist-owned models, maize divination, and why provenance decides sovereignty in music AI.
The audio solution that was waiting for its problem
Almost a century ago, Alan Blumlein set out to understand how recorded sound technology could be developed to deliver a lifelike experience of sounds from different directions. Stereo became the practical answer and conquered the world. But the question Blumlein was asking was much bigger, even, than stereo itself.We tend to assume that good ideas in audio arrive ahead of their time. Some do. But a few are not early so much as waiting: complete, correct, and quietly irrelevant until a problem turns up that needs them.The most interesting idea I work with is one of these, and it is almost a century old.
Capturing a Place using Ambisonics
Most of us hear. Very few of us listen. Field recordist John Wills traces the practice of ambisonic capture — from the absence of anthropophony in a Scottish woodland to the eight-speaker studio where those recordings become something else entirely.
Real-Time Spatial Audio Design in Speech Therapy
For decades, the acoustic environment in speech and language therapy has largely been treated as a neutral condition — a passive background surrounding communication. My work emerged from a fundamentally different question: What happens when the acoustic field itself becomes intentionally designed?
“sound AS space” — Interview with Gerriet K. Sharma from spæs lab Berlin
Gerriet K. Sharma works where sound stops coming from speakers — and starts shaping space itself. In this interview, the composer and co-founder of spæs Lab Berlin talks about the IKO loudspeaker system as a genuine instrument, the persistent gap between technical progress and artistic practice, and why 3D Audio means far more than a marketing promise. A conversation about the sculpturality of sound, the future of spatial aesthetics — and the questions nobody in the spatial audio scene is asking out loud yet.
Reflections on The Routledge Companion to the Sound of Space
The Routledge Companion to the Sound of Space is a comprehensive collection of essays and accompanying sonic material written by practitioners and researchers across a wide range of disciplinary fields, addressing both the current state and future trajectories of works where sonic and spatial practices intersect. The volume was edited by myself, an architect, composer and academic, alongside Prof. Jane Burry (University of Adelaide) and Prof. Mark Burry (University of Melbourne), both architects whose work similarly operates across disciplinary boundaries.
From Semantics to Trajectories: Reimagining the Spatial Audio Workflow with Generative SPATAI
What if you could speak to your panner? SpatAI turns "make a chaotic spiral" into real-time control data, effectively replacing manual labor with algorithmic performance. We analyze how this tool uses AI to bridge the gap between language and spatial object management.
Spatial Audio – A Free Practical Guide for Audio Creators
For anyone with basic audio production knowledge, this free course opens the door to spatial audio. Learn principles, psychoacoustics, and creative applications through interactive lessons and real-world case studies, exploring Ambisonics, Dolby Atmos, and beyond.
Immersive Audio in Latin America: Talent Isn’t the Problem
A data-driven diagnosis of the LATAM immersive scene. This article maps technical frictions, the reality of borrowed hearing, and the survival workflows professionals use to navigate a system not designed for their context.
ECHO Project: A New Chapter in Immersive Orchestral Recording
Step inside the orchestra. The ECHO Project offers a rare open-access look at immersive recording at AIR Studios. Featuring the London Contemporary Orchestra, Volker Bertelmann and top audio engineers, explore the story behind this massive resource for sound professionals.
Grassroots Ambisonics
Contemplation on the role and potential contribution of DIY grassroots initiatives to the development of contemporary spatial audio field. The article unfolds through reflection on Ambisonic summer lab — an initiative made by artists for artists, built through collaboration, mutual help, and open exchange. By creating conditions and connecting people across countries, we aim to contribute to the emergence of a new scene for spatial music — one that values openness over competition, and curiosity over perfection.
A Song For Two Mothers / OCCAM IX
In A Song for Two Mothers and Occam IX, Laetitia Sonami and Éliane Radigue explore the transition from analog resonance to digital imagination. Paul DeMarinis reflects on sound, space, and time — connecting Radigue’s flowing Occam series with Sonami’s Spring Spyre instrument, where resonance, drift, and transformation become one continuous current of sound.
Concept-based Explanations for Music Emotion Recognition
Concept-based explanations have emerged as an approach to make models explainable in a human-understandable way. In this article, we investigate extracted concepts for a music emotion recognition model. In a listening experiment, we explore properties of found concepts and show how to present them to users. The article is based on our paper and introduces only parts of our research. More information is provided in the paper.
IAMF – An open 3D audio format on the horizon
Amidst the multitude of 3D audio formats like MPEG-H, Dolby Atmos, DTS:X and others, there is a new, open format emerging, IAMF. Let’s have a look at what it's all about and what it means for the future of immersive audio.
Immersive Audio and Modern Well-being: Beyond Stereo
As a sound artist and producer, I explore how immersive audio reshapes modern well-being. Beyond stereo, spatial listening activates perception, emotions, and collective experiences. In this article, I’m going to show you how and why.
My Two Cents on AI and Sonic Creativity
Francisco López delves into his decades-long work with autonomous sonic systems, which goes beyond today's prompt-based AI. From his visionary concept of a "sonic alter ego" to live performances by AI-driven entities such as PEPA and HARING, López makes a case for artistic collaboration with evolving, unknowable systems. It is a compelling call to embrace the potential of machine creativity and rethink what it means to compose.
SEMA - Statistic Electroacoustic Music Analyzer
Analyzing complex and often abstract forms of sonic expression presents unique challenges, moving beyond traditional score-based methods focus on the inherent qualities of the sound itself. To address this, computational tools have become invaluable, offering objective insights into the sonic landscape of electroacoustic works. But how to apply these tools in real-life situations, and how to easily interpret data collected during analysis?
Marine soundscape ecosystems at risk: a data-driven spatial-sound interactive experience to raise awareness
504 Ways Of Listening is an immersive interactive installation that transforms underwater acoustic data into three-dimensional soundscapes. It reveals the impact of human-made noise in the oceans and invites deep listening as a way to reconnect with marine ecosystems.
Towards personal spatial sound instruments
Whether you’re an artist searching for new ways to work with space and sound, or you run an art center, research lab, residency or a festival looking to expand what you can offer, the landscape of spatial sound is changing. This article is about those changes, the challenges many of us face, and a new approach leaving our Spatial Sound R&D Lab and entering the world — codenamed the "Singing Watermelons" — inviting the curious minds and unstoppable artists to help shape what comes next.
Binaural Conversion of Electroacoustic Music for the AudioSpace
Converting multichannel electroacoustic compositions for headphone listening presents unique technical and artistic challenges. How do we preserve spatial intent while adapting to binaural playback?
