Cantalupus, the place where the wolves gather to howl. It's the spot where a new artistic concept for immersive audio is being developed. In relating audio to space, we are drawing attention to one of the more primitive functions of human auditory perception. Hearing provides the means by which we become aware of what's happening in our surroundings. Through auditory perception we gain a first and primitive understanding of our relations to the environment. Musical experience delves on the same action schemata and emotions that underly this innate radar system .

We aim to transform immersive audio from within this perspective. We develop methods where source and target tracking and expectations of impact of perceived sound objects become artistic building blocks of auditory experience. Sound objects range from the concrete to the abstract, from (synthesized) sound, to harmony and rhythm. Compositions are captured as trajectories within a virtual auditory vectorspace.

Recent work:

The artistic work 'le Tribunal d'Amour' in collaboration with Alexandra Jacquet was a first. At the SMAK exhibition, four emotional corners in auditory space were defined, that served as dimensions guiding the movement of attendants who entered the room blindfolded. In doing so, they were following the story of Olivia Binana, who lost the ability of sight at young age and is on a quest for a transformative ritual. The installation shook the rooms of SMAK and strongly impressed many visitors. They all needed time to be able to land and come to their senses after the performance.

The performances in the XHRIL-lab consisted of the live direction of soundobjects, projecting their parameters of position, speed, acceleration and perceived momentum.

The pilot project uses finger and hand to chest gestures to control the 'throwing', 'painting' and 'grabbing' of sound objects, molding the expectations of source, target, speed and impact of sound trajectories by the audience. It tries to bring the concept of an innate ear radar one step further with the use of a newly developed interface for motion capture in relation to immersive technologies.

Stan Bundervoet has been a researcher since 2000 and has been engaged in artistic and artistic-educational work. Researches related to music, philosophy, quantumphysics, sociology and musicology. Artistic work reached from digital platforms for multi-speaker systems, to music-educational work, improvisation music to experimental modular soundsynthesis. He has also been engaged as member of Artscience Forum (VUB) and served as moderator and lecturer on various occasions.

Previous activities include:

IPEM/XHRIL-lab, Universiteit Gent, pilot project immersive music and movement, supported by IPEM & Kunstendecreet Vlaanderen

SMAK Museum of Contempory Art, composition quadrophonic, immersive installation "Le Tribunal d'Amour", work in the context of 'Hoogstpersoonlijk', in collaboration with Alexandra Jacquet (choreography)

Noise Nest Festival, directed quadrophonic performances with 12 modular synths at Wisper

Artscience Forum, VUB - co-founder

Systems At Play symposia (performances and debates on the theme of emergence)

Presentations & moderations (including LUCA School of Arts)

Collaboration with WIELS ('Risquons-Tous'): platform for knowledge transfer within mixed media. Exhibition on the themes of transgression and predictability

Art centre GMEA, Albi, FR - collaboration on the Jamoma project, digital platform to support audiovisual multispeaker performances