spæs - lab for spatial aesthetics in sound Berlin

Startseite
Deutschland
Berlin
spæs - lab for spatial aesthetics in sound Berlin

29/09/2026

Thank you to Circadian and .berlin for putting together this film screening and for inviting us to do the sound spatialisation with 4 RL 900 loudspeakers from our lab and 4 RL 901K loudspeakers generously provided by Geithain.

Many thanks to m a n u e l for setting up the projection screen and installing the video with so much care.
Gregor, thank you for the thoroughly prepared interview with ALVA NOTO TRAVELLOG 🕊, who gave us a deeply personal insight into his longtime collaboration with Ryuichi Sakamoto.

We’re grateful to Funkhaus Berlin for providing us with Saal 1 to bring out the resonance of Sakamoto’s music and the room’s own unique characteristics.

Thank you to Father’s Back for your untiring technical support, and to all volunteers for such a beautiful weekend.

16/09/2026

What began as a shared fascination with spatial aesthetics in sound has grown into an established platform. Within the lab’s shared exploration, he gave that work a conceptual language and a scenographic perspective, helping to make spatial audio legible as a question of how sound renders space meaningful.

We thank Johannes for his vision, his work, and the time we shared. The connection to him and his work remains, and we look forward to following where he goes next. spæs lab will continue its work and wishes Johannes all the very best for everything ahead.

10/09/2026

Concert 04 approaches vocal identity not as pre-existing or stable, but as a performative effect. In “Vocal Systems”, this process unfolds through the co-constitution of human and machine, extending voice beyond the human body into networked technical infrastructures.
In the foyer, Boris Eldagsen continues this inquiry through an AI-generated audio-visual installation. The work further unsettles the distinction between human expression and technological operation, foregrounding the relational processes through which both subjectivity and technical agency emerge.

Location: Kultursaal Funkhaus Berlin
Date: SUN, 13.09.26 // 6pm

Curated by Gerriet K. Sharma and Verena Lercher
Funded by field notes berlin

More info & tickets → link in bio

03/09/2026

Concert 04 “Vocal Systems” examines embodiment as a hybrid field, following voice and gesture as they detach from the body and are redistributed across artificial actors and spaces. Instrumentality relocates from body to network; presence becomes distributed and relational.

Location: Kultursaal Funkhaus Berlin
Date: SUN, 13.09.26 // 6pm

Curated by Gerriet K. Sharma and Verena Lercher
Funded by field notes berlin

More info & tickets → link in bio

27/08/2026

Crushed Now – After Turing // Beyond Presence is halfway through its five-concert exploration of instrumentality as space: a relational field in which human and non-human actors co-shape and increasingly define rhythm, resonance, and attention, in constantly renegotiated (im)balance.

The two remaining evenings extend this inquiry in different directions:
“Vocal Systems” examines embodiment as a hybrid field, following voice and gesture as they detach from the body and are redistributed across systems, spaces, and media.
“Relational Persistence” asks what performance becomes once it is understood not as a bounded event but as a persistent relational condition.

Location: Kultursaal Funkhaus Berlin
Dates: SUN, 13.09.26 // 6pm and SUN, 18.10.26 // 6pm

Curated by Gerriet K. Sharma and Verena Lercher
Funded by field notes berlin

More info & tickets → link in bio

18/08/2026

When the Spatial Audio Tools Mature — From Reproduction to the Construction of Meaning

At the International Conference on Immersive and 3D Audio (Bologna, 2025), Johannes Scherzer observed a field reaching technical maturity: the engineering questions that long defined spatial audio have, in their essentials, been resolved. His question: once we can reproduce almost any spatial cue, what is the sound for?

In this essay, he argues for a shift from a paradigm of realism to one of interpretation–from the engineer as technician to the designer as scenographer of perception. The argument grows out of his sound scenographic practice at studio TAUCHER Sound Scenography, including The Speaking Museum, and connects to his Fourfold Model of Emergent Spatial Perception, presented at I3DA 2025.

Full essay: https://www.linkedin.com/pulse/when-spatial-audio-tools-mature-from-reproduction-meaning-scherzer-loxje

12/03/2026

Crushed Now is a series of five concerts in which human and artificial actors become equal partners in play, creating, shaping, and defining sound, rhythm, and resonance through intra-action.
Human–machine exchange becomes a reciprocal, co-creative process that reshapes not only the concept of instrumentality, but also the socio-cultural architecture of performance.

Instrumentality is reimagined as an aesthetic, perceptual, and social practice that reconfigures traditional concert situations and generates collective, relational modes of listening.
Performance itself unfolds as a compositional spatial practice in which gesture is continuously negotiated as a dynamically produced (im)balance between human and machine.

Location: Kultursaal Funkhaus Berlin

Dates: Sun, 19.04.26 / Sun, 10.05.26 / Sun, 28.06.26 / Sun, 13.08.26 / 18.10.26

Curated by and

Funded by

More info & tickets → link in bio

residentadvisor

16/02/2026

Taking place from 12 to 15 May 2026, this Summer School explores the myth of immersion associated with spatial audio, addressing both technical and practical questions in artistic sonic production and examining the relationships and conditions that shape interactions between humans and loudspeaker technologies.

Drawing on examples from music and sound art, the programme investigates varied understandings—and misunderstandings—of space, encouraging individual perspectives and opening new directions for contemporary practice.

Music-making and Sound Art are framed as a forms of critical engagement with both self and technology, where listening and composition become tools for exploring how personal perception can evolve into shared experience.

More information on the website.

Developed in collaboration with University London, , Department of Audiokommunication, and .

09/02/2026

Together with , spæs Lab’s led a three-day masterclass on composing sonic spaces using loudspeaker arrays.

Starting with a chaptered overview of the roughly 40,000-year history of spatial audio and site-specific sound projection, the course moved through comparisons of contemporary tools and instruments.

Theoretical and practical questions were explored and developed through selected multichannel compositions from the past 80 years.

At the center of the masterclass was the question of the conditions under which shared perceptual spaces can emerge within mediated and digitally controlled sonic environments.

Thanks to , , and

Adresse

Nalepastraße 18
Berlin
12459

Website

https://linktr.ee/spaeslab

Benachrichtigungen

Erfahren Sie als Erste/r von Neuigkeiten und Aktionen: Wir schicken Ihnen eine E-Mail, wenn spæs - lab for spatial aesthetics in sound Berlin etwas veröffentlicht. Ihre E-Mail-Adresse wird für keinen anderen Zweck verwendet, und Sie können sich jederzeit abmelden.