Patrick's EPAS Blog

My sonorous journey throughout the European Postgraduate in Arts in Sound

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Jury Preparation EPAS ‘17

To Prepare us for the upcoming Jury the 09th of September, we received an email from the Belgian coordinator [Martine Huvenne] with the following suggestions:
”…make sure that you inform us about following topics:

  • -  Introduction of your project
  • -  Motivation of your project
  • -  Background information of your project
  • -  About the research you did
  • -  Actions ( dairy)
  • -  Motivation of the choices you did ( Results thrown away)
  • -  Motivation of the presentation form ( distribution of sound)”

In the following sections I will try to recap the points that were outlined above, the way I interpreted them…

Introducing myself and my project

Patrick Housen [1990]

Patrick Housen [1990] is a Belgian composer and sound-artist, born in Genk and currently residing in Ghent. He graduated as a master of fine arts with a major in Composition & furthermore obtained a teacher’s degree. He is currently the only Belgian who partakes in the European Postgraduate in Arts in Sound

His musical roots can be found in contemporary classical music and progressive metal; thinking outside the box and the search for immersive sound[s] are the key elements in his oeuvre. Creating a dialog between human and computer and studying the influence of immersion in sound on human perception is currently peaking his intrest. 

He was involved as an artist and as an educator in projects and workshops of schools and organisations in Belgium, The Netherlands and Germany like Music Futurista [co-created with Matrix and Logos], Art4Kids, YOUnited9000, A Peace of Art, etc.
He also creates musical installations, performance-art, compositions and field-recordings which coincide often with live-electronics as a composer. [live-electronics for SPECTRA-ensemble, …]

Artistic - parickhousen.com   

Technical description

Sound Recording, Designing, -Editing & -Mixing of the animation film Julienne by Romane Claus.

Further description

In this project immersion, or the experience of being all engulfed as to forget the world-reality around you, forms  the basis of praxis. The influence of immersion in an artistic work is being researched. The experience in correlation to sound of the artist as well as his audience form the starting point. The different forms in which immersion can appear and the tools to achieve this perceptual state are being researched within a multi-disciplinary frame with a focus on the correlation between picture and sound. Mixed-reality and other forms of new technological breakthroughs are used with the purpose of expanding the immersive experience of the listener. By analysing this immersive impact, the dialogue between human and computer is invoked. The influence and use of immersive sound and the value this has for the artist as well as for a broader social context is being questioned.

Mentors @IFS Cologne, Germany

Su Nicholls-Gärtner; André Bendocchi-Alves & Jascha Viehl 

References / Literature list

  • Andéol, G. Savel, S. & Guillaume, A. (2015) Perceptual factors contribute more than acous0cal factors to sound localiza0on abili0es with virtual sources. 
  • Augoyard, J.F & Torgue. H. [2006]. A Guide to Everyday Sounds 
  • Bellona, J. [2011] Kinect-Via- : Max/MSP Performance Interface Series for Kinect’s User Tracking via OSC University of Oregon Digital Arts Department. 
  • Cleland, K. (2009). In0mate Encounters: the Mixed Reality Paradigm and Audience Responses. Digital Arts and Culture 2009. UC Irvine: Digital Arts and Culture. 
  • Cooper, A. [2007] About Face 3: The Essen4als of Interac4on Design, John Wiley & Sons, . ISBN 978-0-470-08411-3. 
  • De Assis, P. (2013). Preface of Sound & Score - Essays on Sound, Score and Nota0on by IPEM. Edited by Paulo de Assis, William Brooks, Kathleen Coessens - Leuven University Press 
  • Deshays, D. ( 2009). Staging Sound: A Mader of Dissocia0on. The Soundtrack, Volume 2(Number 1) 
  • Dogramaci, B. (2016). Immersion in the Visual Arts and Media. 
  • Druif, N. (2004). De zoektocht die interac4on design heet - studie naar de studie, Hogeschool voor de Kunsten Utrecht 
  • Ekman, I. (n.b.). On the Desire to Not Kill Your Players: Rethinking Sound in Pervasive and Mixed Reality Games - School of Informa0on Sciences, University of Tampere FIN-33014 University of Tampere 
  • HoGent. [2017] Het doctoraat in de kunsten aan School of Arts | KASK & Koninklijk Conservatorium: Praktische gids. 
  • Gibson, J. (1977). The theory of affordances In Shaw, R.E., & Bransford, J. (Eds.), Perceiving, ac0ng and knowing. New Jersey: LEA. 
  • Housen, P. [2016]. Notes & Reflections on days of Recording Session [x] & ReLiV [1]. November 2016. Retrieved from epas.patrickhousen.com on 13th of April 2017 
  • Huiberts, S. [2010]. Cap0va0ng Sound: the Role of Audio for Immersion in Games. Doctoral Thesis. University of Portsmouth and Utrecht School of the Arts, Portsmouth, 2010. 
  • Huiberts, S. & Tol, R. van, (2008). IEZA: a framework for game audio Retrieved December 01, 2016, from: Gamasutra.com
  • Hwaryoung J.S. [2015] Aesthe0cs of Immersion in Interac0ve Immersive Installation: Phenomenological Case Study. Texas A&M University College Sta0on, USA.
  • Kwastek, K. Embodiment and Instrumentality [2009] Ludwig Boltzmann Ins0tute Media.Art.Research uit serie Embodiment and Performa0vity [2009] 
  • Leman, M. (2008). Embodied music cogni0on and media0on technology ,MIT Press. 
  • Maes, L. [2013] Sounding Sound Art 
  • Mulla, F. (2015) Keeping Score Art_Illustrated_Sound_Reasons_2015 
  • Murch, W. (1998). Dense clarity - Clear density. 
  • Raghuvanshi, N. (2010). Interac0ve Physically-based Sound Simula0on. University of North Carolina Chapel Hill 
  • Stockburger, A. (2003). The game environment from an audi0ve perspec0ve In: Copier, M. and Raessens, J. Level Up, Digital Games Research Conference (PDF on CD-ROM). Utrecht, The Netherlands: Faculty of Arts, Utrecht University. 
  • Wilhelmsson, U. and Wallén, J. A Combined Model for the Structuring of Computer Game Audio In: Grimshaw, M. (2011). Game Sound Technology and Player Interac0on: Concepts and Developments. University of Bolton, UK. 

MEETING WITH THE MENTOR….

quote André: The ifs is like a magnet, a place of intensive creativity where film is lived. And this is the only way to make good films. My position as a professor at the ifs makes it possible for me to share my experience as well as continue to expand it. And the best thing about this process is to experience how the ifs grows and develops. Film is life, film is passion and film should be fun! All this is possible here!”

What a generous and lovely people at the IFS! un-imaginably helpful and always in for a chat: From the director [Simone] to the technical staff - Thank you guys for solving all my problems ;-)! - I had a great time there! 

Maybe even more importantly is the fact that I had 3 mentors: André Bendocchi-Alves, the most experienced one with the harsh but honest opinions, but also Su-Nicolle Gartner and Jascha Viehl who helped me out so much!  

the working process and methodology 

⁃ herein stressing the importance of workflow orientated approach which has always been to and of great importance to me.

⁃ examples of the process:

⁃ cleaning / editing the Voice-Overs

⁃ Presenting several examples of this.

⁃ Insight gained in the different possible formats to release! 

⁃ DCP, ….

What I did in between the first and second semester. - see rest of this postgraduate blog for snippets of this quest.

Thanks to EPAS this lead to the realisation of the importance of sound in my artistic works and view. 

My application as a research assistant was born. 

UNFORTUNATELY…

lack of skills and experience in the sound-designing & -mixing department.

So peculiar that we never get this as a composer during our educational process.

unfortunately during the year of EPAS the main aim appeared to be on the perception of sound

in many different art-forms, which by and of itself is a wonderful framework, but in my opinion does require a certain amount of theoretical background which unfortunately was never supplied. 

Luckily the IFS had a totally different approach and was way more workflow orientated: Which lead to the corresponding creation of my own works and workflows.

Technique as a communication tool between equipment and artists  …

Richting een actieve vorm van immersieve geluidsbeleving

Kernwoorden Immersie, Immersief geluid, ac0eve immersie, [dis]-associa0e, mixed-reality, virtual- reality, sound-design, trans-disciplinair, mul0media-technologie. spatialisatie.

Algemene context van het voorgestelde onderzoek Onderdompelen heeft dezelfde betekenis als immersie. volgens Hwaryoung (2015) kan immersie omschreven worden als een staat waarin men de realiteit vergeet die zich buiten de virtueel gecreëerde ruimte bevindt. Interactie met soft- middle- en/of hard-ware stelt ons volgens Hwaryoung (2015) in staat om deze immersieve staat te bereiken. De mogelijkheid tot interactie met het werk vormt volgens Cleland (2009) een dialoog tussen mens en machine en maakt de perceptie van het publiek sterker. Deze dialoog kan ook plaatsvinden tussen kunstenaar en zijn werk: Kwastek (2010) stelt in haar paper dat de basis van de esthetische ervaring van interactieve kunst wordt gevormd door de strijd tussen de mens en de te bedienen technologie. Volgens Kwastek vormt dit de creatieve exploratie, die mee aan de basis ligt van de esthetische waarde van interactieve kunst.

Status quaestionis m.b.t. mijn artistieke praktijk In mijn eigen artistieke praktijk is immersie reeds op verscheidene niveaus aanwezig. Om dit beter te structureren, heb ik een onderscheid gemaakt tussen tools die het immersieve aspect mogelijk maken en kunnen versterken en twee vormen van immersie. Voorbeelden van tools zijn: Het gebruik van shortcuts om een betere en consistentere workflow op te bouwen in gehanteerde so?ware [1]1. Combineren van MIDI-controllers met geautoma0seerde faders om de fysieke ervaring bewuster mee te maken 0jdens het werken met geluid [2]. Contactmicrofoons om op alterna0eve manieren interac0e aan te gaan met performance-ar0esten [3]. Kinect-sensoren solderen en bruikbaar maken met een mac voor interac0eve performances [4]. Passieve immersie: Waarmee ik het ‘ondergaan’ van de immersie in een werk tot doel stel. Ter illustra0e hiervan de nieuwe trailer van Kask-Cinema. Link naar originele versie zonder plaatsing van het geluid in de ruimte [V1]. Link naar mijn versie met plaatsing van de geluiden in stereo [V2]. Door het geluid in de ‘virtuele’ 5.1 cinema ruimte te plaatsen [V3] creëren de geluiden samen een veel coherenter geheel wat mijns inziens de immersie van het publiek [passief] bevordert. Ac%eve immersie: Waarmee ik duid op het zelf par0ciperen of in interac0e treden met het kunstwerk. Dit versterkt de cona0ef component en deze rol kan door zowel performer als ‘publiek’2 opgenomen worden. Ter illustra0e Manual-[x]-communica4on (2017) [5]. Een audiovisuele installa0e waarin ik poog het publiek door middel van een leap-mo0on controller in dialoog te laten treden met een geprojecteerde videoprojec0e a.d.h.v. handgebaren. Onder ac0eve immersie beschouw ik ook het uitvoeren van de bewegingen met de micro’s. Audi0eve voorbeelden hiervan zijn terug te vinden in mijn binaural field-recordings in Gent en Amsterdam [6] [A1] [A2] [A3]. Nog een voorbeeld is de parameters van het geluid op een fysische manier implementeren door gebruik te maken van een leap-mo0on controller 0jdens het geluids-bewerkingsproces [7]. Als laatste voorbeeld wil ik de lichamelijke gebaren aanhalen die het geluid gedurende een performance aansturen en controleren om zo in dialoog te treden met een performer [8].

Wat deze voorbeelden gemeenschappelijk hebben is de [dis]-associa%e van de gebruikte tools om de menselijke laag in vraag te stellen. Deshays (2009) gee? in zijn ar0kel over dissocia0on al duidelijk aan hoe dat luisteren naar geluiden als een vorm van vrijheid telt. De vrijheid naar welke geluiden in de constante barrage van geluiden, wij kiezen te luisteren en de immersieve impact die dit kan hebben. [see doctoral proposal for full document] - in dutch!

Continuing the Journey! 

Composing 2.0 - sound as cornerstone of my new process.

⁃ My renewed take on composing and how everything for me is more and more derived from sound as the cornerstone of the whole process.

⁃ In Betwi[x]t

⁃ Designing the composition from sounds that I recorded myself.
& the aural-layers I created before starting the composition process.

Impact on my work: 

taking more time - my musical structure became more logical

[make comparison between muscle memory guitar and sight-reeding piano]

  • From Scratch

evolution to FS 2.0

⁃ Performance by Benjamin Glorieux and Eline Duericnk @wonderfeel 2017

⁃ Great succes! —> retake next year! [see (will be) working on]

⁃ Live-dj-ing musician’s @wonderfeel Festival in Amsterdam

⁃ Trigger

⁃ Project in collaboration with Bl!ndman that will be presented in 

Flamingo
⁃ Children’s performance played on the Gentse Feesten for The New What Now

⁃ Research into Belle Epoque Horns with Jeroen Billiet

  • Scientific Measuring of Horn Recordings using quad Set-up! [pics!]
  • Jane Dog - Soundtrack!
  • “trigger” -> upcoming collaboration with Bl!ndman collective to be performed on Botanique Festival #3 @deSingel in May ’18

References / Literature list

References / Literature list

  • Andéol, G. Savel, S. & Guillaume, A. (2015) Perceptual factors contribute more than acous0cal factors to sound localiza0on abili0es with virtual sources.
  • Augoyard, J.F & Torgue. H. [2006]. A Guide to Everyday Sounds
  • Bellona, J. [2011] Kinect-Via- : Max/MSP Performance Interface Series for Kinect’s User Tracking via OSC University of Oregon Digital Arts Department.
  • Cleland, K. (2009). In0mate Encounters: the Mixed Reality Paradigm and Audience Responses. Digital Arts and Culture 2009. UC Irvine: Digital Arts and Culture.
  • Cooper, A. [2007] About Face 3: The Essen4als of Interac4on Design, John Wiley & Sons, . ISBN 978-0-470-08411-3.
  • De Assis, P. (2013). Preface of Sound & Score - Essays on Sound, Score and Nota0on by IPEM. Edited by Paulo de Assis, William Brooks, Kathleen Coessens - Leuven University Press
  • Deshays, D. ( 2009). Staging Sound: A Mader of Dissocia0on. The Soundtrack, Volume 2(Number 1)
  • Dogramaci, B. (2016). Immersion in the Visual Arts and Media.
  • Druif, N. (2004). De zoektocht die interac4on design heet - studie naar de studie, Hogeschool voor de Kunsten Utrecht
  • Ekman, I. (n.b.). On the Desire to Not Kill Your Players: Rethinking Sound in Pervasive and Mixed Reality Games - School of Informa0on Sciences, University of Tampere FIN-33014 University of Tampere
  • HoGent. [2017] Het doctoraat in de kunsten aan School of Arts | KASK & Koninklijk Conservatorium: Prak0sche gids.
  • Gibson, J. (1977). The theory of affordances In Shaw, R.E., & Bransford, J. (Eds.), Perceiving, ac0ng and knowing. New Jersey: LEA.
  • Housen, P. [2016]. Notes & Reflec0ons on days of Recording Session [x] & ReLiV [1]. November 2016. Retrieved from epas.patrickhousen.com on 13th of April 2017
  • Huiberts, S. [2010]. Cap0va0ng Sound: the Role of Audio for Immersion in Games. Doctoral Thesis. University of Portsmouth and Utrecht School of the Arts, Portsmouth, 2010.
  • Huiberts, S. & Tol, R. van, (2008). IEZA: a framework for game audio Retrieved December 01, 2016, from: Gamasutra.com •Hwaryoung J.S. [2015] Aesthe0cs of Immersion in Interac0ve Immersive Installa0on: Phenomenological Case Study. Texas A&M University College Sta0on, USA. •Kwastek, K. Embodiment and Instrumentality [2009] Ludwig Boltzmann Ins0tute Media.Art.Research uit serie Embodiment and Performa0vity [2009]
  • Leman, M. (2008). Embodied music cogni0on and media0on technology ,MIT Press.
  • Maes, L. [2013] Sounding Sound Art
  • Mulla, F. (2015) Keeping Score Art_Illustrated_Sound_Reasons_2015
  • Murch, W. (1998). Dense clarity - Clear density.
  • Raghuvanshi, N. (2010). Interac0ve Physically-based Sound Simula0on. University of North Carolina Chapel Hill
  • Stockburger, A. (2003). The game environment from an audi0ve perspec0ve In: Copier, M. and Raessens, J. Level Up, Digital Games Research Conference (PDF on CD-ROM). Utrecht, The Netherlands: Faculty of Arts, Utrecht University.
  • Wilhelmsson, U. and Wallén, J. A Combined Model for the Structuring of Computer Game Audio In: Grimshaw, M. (2011). Game Sound Technology and Player Interac0on: Concepts and Developments. University of Bolton, UK.

29/05

Well, both things flow perfectly together in Herculeslab in Ghent where I’m working once more for some sound-editing.

If only images could be heard….. ;-)

Sound Editing and my love for a audio-wise qualitative room

IFS 15 - 17 May

- short, intense but sweet -

result of the three day workshop

and then during the evening I had the chance to work in the editing suits to get the hang of different new aspects of sound-editing!

IFS 1

Getting ready for my first visit to the IFS in Cologne

12/03/17

Starting tomorrow, the 13th of March, I will be at IFS to

  1. Partake in the Digital Narrative Master courses
  2. Connect with my mentor and plan the upcoming months
  3. Hopefully be able to set-up a performance of Session [x]!

Very Curious what the upcoming days will bring!

February 2017

Finishing my latest creation “In Betwixt” that will be performed by “De Compagnie” in Ghent and Antwerp in April: Check out the article below for more info and to order tickets for the concert.

Session [x}
is an experience-orientated performance that tries to discover and research the affect of the human breath through both performance art and sound. It is also a very physical performance that invites the public to embrace the moment where time seems to freeze, slow-down and speed-up.

Trailer for the Kask Cinema in Ghent.
Video & sounds by Ellen De Vos
Sound editing & Post-production - Mixing [stereo & 5.1 cinema] - by Patrick Housen

Bach- BWV 998 Prelude

We did a studio-recording of my Hermann Hauser Sr. copy i built back in 2016. Guitarist: Iben Naessens

Resonate to evaluate

December 2016

There is no such thing as an empty space or an empty time: There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot. - John Cage

Finally having the feeling that I can take a step back from my work to play the role of the observer.

Finding that I'm pretty good at giving advice to other people about their work and the next step they should take etc, but using this process in my own work was, and is still, very hard. Once I started working, I lost myself in the working process. By taking a step back, I can take the space and time to "resonate" and "evaluate" my own work and reflect on it. This skill is certainly something that I enhanced very strongly during the last four modules of EPAS!

On that 'note' --> time to take the time to get my reflections from inside to a written form!

Therefore this part of the blog: which will be dedicated to my personal reflections: past and future.

EPAS group 2016 - 2017

Taking away sight enhances the sonorous world.... perfect way of starting this first module!