Winter School 2021 – Programm & Team



Listen to all the recordings on

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09:00 – 09:30
Welcoming and presentation (Nicolas Rémy & Nicolas Tixier)

10:00 – 10:50
Vulnerability and listening (T. Marchal, S. de Pertat, N. Remy & E. Paxinou)

Today, the immediacy of information and the rapidity of actions have become the norm. Accelerating lifestyles and ways of thinking have become a prerequisite for success and long-term issues are thus increasingly neglected, with a trend to create social, environmental and spatial « vulnerabilities”. It is precisely at the intersection of these issues where the ambiances, and more particularly sounds, can appear to be a real catch.
Listening to his environment, a gesture that may seem simple and insignificant, then becomes a powerful tool for taking into account places, voices and environments at scales and temporalities that are difficult for us to reach with the visual. The sound can indeed be considered as a lever, or a tool to question these problems by its capacity to « unframe » temporalities, spatialities and/or scales often “left aside” because they seem to us too obvious, too reduced or in contrast too wide.These are the stakes that we will try to explore during this thematic week through theoretical interventions and practical experimentations.

11:00 – 11:50
Sound effects of Vulnerability (Nicolas Rémy)

Since the first works of Pierre Schaeffer (The Sound Object 1966), then Murray Schafer on the soundscape (1977), completed by the collective work of Cresson (sound effects 1995), many are now the concepts likely to describe the sound phenomena as they are experienced and produced daily. These works make it possible to describe sonic phenomena on different scales: scale of the sonic sources with the sound object, scale of the body in movement with the sonic effect and scale of the landscape with the soundscape. They articulate perfectly to the attention that we have when we are listening to sound and acting with them. They are also very meaningful and relevant to describe affects produced on the listening and acting subject. They become operators for sound creators (installation, sculpture, radio arts, musical arts) but also for space designers (artists, architects, urban designers). Nowadays, with the revival of the general interest for sound (sound studies), the notion of sonic effect seems the most promising tool to describe our contemporary practices with the sonic environment. Vulnerability of spaces, vulnerability of the environment and vulnerability  of social practices will be discussed regarding the sound effect notion. 

13:00 – 13:50
Echoes of Vulnerability : introduction of the workshop by TWIXTLab



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09:00 – 09:30
Sensibilities to LifeWorlds (Jean-Paul Thibaud)

The presentation will explore what could be an atmospheric listening to lifeworlds. It is placed under the sign of the Phonocene (Haraway) and the Phonotop (Sloterdijk). The aim is to understand how sonic experience maintains a fundamental relationship of vulnerability to the world. Atmospheric listening pays attention to the attunements and resonances of any situation, and gives existence to the diffuse, precarious and discreet efficiency of the world of sound.

10:00 – 10:50
Infinite Atmospheres for Ethical Design (Evangelia Paxinou)

How does the notion of “infinite places” allow us to question the production of contemporary architectural space? What are the new challenges for the design of the atmospheres of these new forms of public space? This article aims to bring together the urban practices identified by the Encore Heureux collective with a praxeological thought of the creation of atmospheres. Infinites places are analyzed in their potentials to create infinite conflicts, infinite negotiations and infinite sympathies between the back plan and the emerging events. Vulnaribilities of spaces and listening will be discussed in this frame.

11:00 – 11:50
In the key of life: the place of sound in the anthropology of Tim Ingold (Marc Higgin)

In the key of life: the place of sound in the anthropology of Tim Ingold.The anthropological thought of TimIngold is a thought that has been shaped in dialogue; with the Sami communities he lived with during his fieldworkin the 70s and 80s, with the empirical and theoretical richness of the anthropological tradition, with thephenomenology of Merleau-Ponty, Jonas and Heidegger and the pragmatism of Dewey, with evolutionary thoughtin biology and archaeology, with practitionersand theorists in the crafts and arts, in architecture and design. Atthe heart of these dialogues is a concern for understanding how we inhabit the world, how human forms of life arenegotiated with this world in all its material and living diversity, andhow understanding this negotiation requires aprofound re-writing of Western notions of the individual, knowledge and action. This intervention reads Ingold’sbody of work through the question of sound and its role in opening up social life-what it is and what it could be-to thought and action.


19:00 – 20:00
Invited Conferences 1&2

Mort du son, espaces de crise. Une ethnographie des traces (Patrick Romieu (FR))
Death of sound, spaces of crisis. An ethnography of the tracks/traces.

Voice, sound and ambiance in cinematic narration (Giorgos Papakonstantinou & Electra Venaki (GR))


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09:00 – 09:30
Esthetic of Relation in sonic arts (Dana Papachristou and Georges Samantas)

On the limits of sound art as a socially engaged art practice

In this presentation, we will investigate how sound can function as a weapon/tool towards social inclusion, and problematize the aspects of recorded sound as a technical object. Further, we will draw upon the notion of “synaesthetic translation”, in order to sketch a genealogy of the interchangeability of modalities between art forms or genres, from Benjamin or Schoenberg and Kandinsky to contemporary art and new media applications. Last, we will pose some initial research questions as framed within “Audibility”, (part of “B-Air” Creative Europe project) that invites Deaf or Hard of Hearing students in sound-art and radio-art processes.

10:00 – 10:50
Deaf / Sound / Art (Panayotis Panopoulos)

The ways of the deaf with sound reveal the significance of deaf sonic and vocal experiences towards a wider understanding of perception, expression and creativity, both for the deaf and the hearing. The presentation will focus on the relations of the deaf with sound, through vision, voice, touch and vibration, especially as these relations materialize in the work of contemporary artists working on deafness and on alternative sonic perception, or by deaf artists working with sound and voice. I will further refer to my research collaborations (ethnographic/ artistic experimentations with deaf and hearing artists), which focus on a systematic exploration of crossovers between artistic work and anthropological research on sound.

Keywords: Deaf, sound, voice, art, performance, body, senses.

11:00 – 11:50
Soundwalks as contemporary art practice: possible ways of listening and sound integration of space and time (Brane Zorman & Irena Pivka for Radio Cona)

Walking as the principle of analogue attunement of mind and movement, as a political act, used today – more than ever – to implicitly express our view on the evaluation of time. Going places on foot is a waste, yet simultaneously a gift of time. Claiming time to move whereby remaining one own’s metronome.

In the lecture announced authors will delibelatery focus only on their own artistic creations. The presentation will cover their latest performative works, which connect them with walking, listening and using locative media tools, works that are based on the sound field recordings and reflections on the social relations towards society and nature.

Through acoustic ecology, the authors want to highlight the perception of our environment, listening and walking as a possible forms of artistic activity, which is extremely important in today’s dramatically changing state of social and cultural landscape.

12:00 – 12:50
Radiowalks  (Pavlica Bajsic Brazzoduro for Radio Teatar)

RadioTeatar attracts artists from different contexts and generations: radio, theater, music and film artists exploring the points of connection and overlapping of their specific practices with radio practice.
Radio art, with its image of the “old media”, gives people a sense of connection through different times and spaces, and at RadioTeatar we access it very openly, merging radio with theater, escaping classical performance spaces and formats, focusing primarily on listening as an act of reception but also of personal, mental creation.
Beside short presentation of our artistic organisation and our main projects, I will focus on presenting you sort of very personal soundwalks that I have started to develope n Croatia two years ago, entitled: radiowalks. I will present you the following radiowalks:
-from a remoted village on island of Hvar (Beetle in the ear, 2018)
– from an old food market in the centre of Zagreb (Dolac sleeps, 2020)
– from a hotel for immigrants and a torpedo factory from 1920s in Rijeka (Car’s new ear, 2020)
– from streets around an old cinema in Zagreb (Cinema for thoughts, 2020)



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09:00 – 09:30
Music listening – a facilitator of psychological wellbeing (Katarina Habe)

The aim of my presentation is to shed light on the effects of music listening on psychological wellbeing. The presentation is going to be grounded on psychological concepts such as functions of music listening, music preferences, psychological well-being, coping with stress, and experiencing flow. The leading questions I’ll try to answer during the presentation will be as follows: (1) How do different elements of music, such as tempo/rhythm, tonality, musical genre, lyrics, etc. affect listeners’ wellbeing, (2) when, where, and how to listen to the music to promote wellbeing, (3) how to promote the therapeutic value of music in listening to music for the vulnerable groups of people? With regard to the latter, I’m going to present a project, developed and launched by Radio ARS (Slovenia) in collaboration with different experts during the first COVID-19 pandemic lock-down in Slovenia. The mentioned radio literature-music show was developed to enhance wellbeing in elderly people in retirement homes.   

10:00 – 10:50
Grassroots Music Venues as New Commons: Socialness and Spatialization (Rajko Muršič)

In classical ethnographic report on life at the Trobriands, Bronislaw Malinowski described the institution of bukumatula, the house for the youth, where they would socialize and have first independent life experiences, among them sexual. Having in mind the school, the youth in the west would not have such privileged spaces for socialization. Nevertheless, the youth and younger generations would find their way in occupying public urban space: flaneurs in “decadent” Paris; jazz-dancing audiences in swinging 1930s in USA and Europe; unstoppable rocking’ youth after the 1950s, and partying ravers till the present.

The author will present importance of the venues for youth and younger audiences, based on his long-term study of specific grassroots music venues, i.e., alternative music venues, squats and underground venues in Slovenia after WW2. In the last two decades, with the rise of neoliberal capitalism, these venues are in decline. Their essential social importance is in sharp contrast to rising privatization of space. The main point of the presentation will be that they are not obsolete, because they cannot compete with private interests, but, on the contrary, they are fought against as one of eventual counter-powers: they are actually the new commons in space. They are specific commons, spaces of experiencing something we might define as communist, producing spatial, social, auditory and acoustic commons. These venues literally create new common spaces in which sounds of music define new forms of socialness. 

11:00 – 11:50
Compose to play: scoring organised sounds (Giuseppe Gavazza)

I have been teaching composition for many years but the vast majority of my students do not study to become composers but rather music and instrument teachers or even sound technicians.

Often the teaching of composition is seen as a rigorous technique that is expressed in a list of prohibitions: a necessary choice to train professionals in composing.

I prefer to interpret composition (and words) as an inventive and creative opportunity: between the etymology of the Latin cum ponere=to put together, Edgar Varese’s concept of organized sound, playing as a game and the music score as the score of this game.

My students are mature musicians: each has their own cultural, musical and life background. The challenge for me, as a teacher, is to make them understand that they are already composers by putting together, in an inventive gesture, what they already know. I hope that they, as teachers, will then do the same with their pupils. The aim is not to train professional composers but to make them understand that not only performing but also creating with sounds is a great making music; and it can be good for people, whether they are musicians or not.


19:00 – 20:00
IDEN, Electroacoustic Radio Opera by Tina Kozin, Saška Rakef and Bojana Šaljić Podešva.
Co-production: 3. program Radia Slovenija – program Ars, društvo Celinka, ŠKUC gledališče.
In collaboration with: Cona, Umetniška kolonija Nida – Akademija umetnosti v Vilni.

See the full presentation IDEN


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09:00 – 09:30
Round Table 1 : Vulnerability and space (Maïlys Toussaint)
“Sharing the daily experience in a city neighborhood, the Villeneuve Grenoble”

By studying the inhabitant’s daily experiences during the rehabilitation of their building through qualitative methods of inquiry, this research aim to understand the habits and the habituations process of inhabitants in
this context of transformations and changes. In the same time that we try to share the daily life and the problematics of those who inhabit the urban renewal, this research try to understand the purpose and the impact of habits and habituations within the urban renewal, and to bring elements for understanding links between the small scale of inhabitants practices and perceptions and the big scale of urban renewal. During this round table “vulnerability and space”, we will talk about the noise disturbances of the constructions site, by sharing interviews and field narratives extracts. By those field data, we will try to see how the construction noises question the inhabitant’s way of living, and how this can bring us to question the notion of vulnerability.

10:00 – 10:50
Round Table 2 : Vulnerability vs envrironment (Charlotte Laffont & Sebastien dePertat) “Anthropocene atmospheres. Listening to our living environments”

Based on reflections on the evolution of our listening to the environment since the COVID-19 pandemic, Charlotte Laffont will outline a definition of vulnerability in the environment. She will consider the place of nature, but especially of agriculture in cities, as a hypothesis of response to this
vulnerability for our cities of tomorrow. Based on listening to urban vegetable gardens conducted at the beginning of her research, she will present the methods envisaged in her work and the environmental and sound questions raised by the practice of agriculture in the city.

11:00 – 11:50
Round Table 3 : Social Vulnerability

Beirut, heterogeneity and struggle of ambiances in enclosed neighbourhoods (Georges Abou Mrad)

Based on the complex community and societal context of Lebanon and above all of its capital Beirut, this thesis questions identity conflicts and what arises from a struggle of ambiences in two irregular neighbourhoods of Greater Beirut. The districts of “Ouzaï” and “Karm El Zeitoun – Syriac” are made up of heterogeneous ambiences and identities, conceived due to different uses and activities. Today surrounded by a speculative urban transformation, how can we imagine their future? The thesis will be based on situated work and surveys to update the constitutive elements of this “heteroclicity”. What possible role is for ambiences in future evolutions of these neighbourhoods?

To make heritage / to make a project for la Capuche, l’Abbaye and Jean Macé
Three low-rent housing from Grenoble with a contrasted future (Ryma Hadbi)

This research project questions what makes heritage in three neighborhoods of low-rent housing in Grenoble built during the period from 1920 to 1930: l’Abbaye, la Capuche and Jean Macé. These neighborhoods originally shared a number of similarities in terms of their construction, however they went through a number of transformations. We consider the hypothesis that what makes heritage consists of three patrimonial values: historical value, usage value and the value of renewal. What makes heritage stems from a common interest for the vitality of these neighborhoods and the population who “invented” them by their real-life experiences and their stories. From the inhabitants narratives, we will question the social vulnerabilities of these neighborhoods through a focus on sound.

Workshop : presentation of the results


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Nicolas REMY

is associated professor at the architectural department of the Thessaly university. He’s teaching building physics and has developed several courses on acoustics, ambiances and soundscape design. Associate researcher at CRESSON (CNRS, ENS School of Architecture at Grenoble, France) his work deals with the concept of ambiance as a tool and as a method for architectural design. More specifically, his work on the relationship between physics, perception theories and architecture. He has presented his work in several International conferences (France, Greece, England, Italy, Sweden, Portugal, Chine). In 2016 he co-organized the 4th International Conference on Atmospheres and since 2018 he is co-director of the Ambiances International Network.

Nicolas Tixier

is an architect, DR and HDR. He is a Professor of theory and design at The National School of Architecture of Grenoble and also teaches at the Annecy Alpes School of Fine Arts and the Grenoble Institute of Urbanism. He is a researcher at the CRESSON Laboratory (UMR AAU) and a member of the International Ambiances Network. He is a founding member of the BazarUrbain collective. Since 2009, he has been president of the Grenoble Cinematheque. Since 2018, he has been director of the CRESSON and deputy director of the UMR Ambiances, Architectures, Urbanities.

Théo Marchal

is an architect, musician and associate lecturer at the School of Architecture of Grenoble and PHD student at AAU-CRESSON laboratory. He has been working for several years on the importance of sound in the design of spaces and on their potential as “materials” for construction and project elaboration through site-specific experiments, pedagogical workshops and musical research. His specialization in digital tools related to the design of space associated with questions about ambiances has led him to investigate the question of tools, and more particularly the close link they maintain with the design of architectures. His PhD work (directed by Grégoire Chelkoff) focuses more specifically on the development of a tool that allows sound environments to be taken into account from the very first sketches of a project(architectural and urban) through a digital process of real-time auralization and articulation with 3D design tools.

Evangélia PAXINOU

is an architect, Dr. (Aristotle University of Thessaloniki), DEA Ambiances Architecturales et Urbaines. After several years in architectural offices in private sector in Greece and in France, she’s now associated researcher at “Ambiances, Architectures, Urbanités” research laboratory (AAU-CRESSON, UMR CNRS, France) and employed by the technical services of Volos municipality, Greece (public space and public building design and rehabilitation). Her work focuses, as an engineer and as a researcher, on the creation of the atmosphere for the public in contemporary public spaces.

Jean-Paul Thibaud

sociologist, is CNRS Senior Researcher at CRESSON research lab. His field of research covers the theory of urban ambiances, ordinary perception in urban environment, anthropology of sound, sensory culture and ethnography of public places, in situ qualitative methodology. He has founded the International Ambiances Network ( His last book is entitled En quête d’ambiances. Eprouver la ville en passant (Geneva: MétisPresses, 2015).

Marc Higgin

anthropologist and researcher at Cresson. My research focuses on the daily practices of social life and the place of the “nonhuman” within human ways of inhabiting the world: our relations with the environment, with animals, with materiality and our waste.I am currently working on a project called SENSA, which is based on the assumption that the senses and the sensible are particularly relevant points of entry for thinking about current and future changes in the relationship we have with our living environments. From 2018 to 2020, I worked as a postdoc on the Trajectories project in the PACTE laboratory, studying how people’s daily practices, shaped by particular ecologies, inform their understanding of place and its possible futures, in the Romanche valley. My doctoral research, at theUniversity of Aberdeen with Tim Ingold, involved working with visual artists and their practices of making, following the different contexts, each with its own value regime, in which materials are transformed into works of art.

Patrick Romieu

Giorgos Papakonstantinou

Electra Venaki

is a researcher and lecturer in many Academic  
Establishments in Athens, former chief editor of cinema section in, the biggest Greek portal and film editor. She holds an M.A  (D.E.A) in Cinema, Audiovisual, Television and an B.A (Maitrise) in  Cinema Studies from University Paris I Panthéon – Sorbonne. (1990).  
She teaches the course of Moving Image in the M.A programme of  Aristotle University (Athens) and she is a longtime collaborator of  University of Thessaly (Greece). She teaches Editing and Sound Design in private colleges and schools in Athens. (New York College, AKMI ).  
Elektra Venaki has 25 years of experience in film and digital video editing in Greece. Among her collaborations, there are many awarded films in Thessaloniki International Festival, especially the  
Documentary Section. As passionate about new technologies and film sound theory and practice, she has participated in numerous conferences about cinema, exploring technical and aesthetic issues.  
She is the founder of


is a project space in Athens, situated between contemporary art, anthropology and everyday life. It is engaged in social research and theory, art research and production, education and social intervention. Since its establishment in 2014 it has organized, hosted, and participated in research projects, art events, exhibitions, screenings and discussions, while it has also provided educational and training modules, workshops and seminars for the wider public, on topics within its cross-disciplinary curriculum.

Dana Papachristou

is a musicologist and artist who focuses on the combination of arts through the use of new media. She has studied music (piano, clarinet, composition) at the Hellenic Conservatory, musicology at the Kapodistrian University of Athens, and Music Culture and Media in the departments of Media and Music Studies, leading to her dissertation, which looks into the “Relation of Music and Painting within Modernism Throughout the Correspondence of Schoenberg and Kandinsky.” She holds a PhD in the discipline of Philosophy of Art in regards to Deleuze and Guattari and her thesis was about “The Aesthetics of New Media Art through Capitalism and Schizophrenia: L’Anti-Oedipe and Mille Plateaux” at Paris 8 | Vincennes – Saint-Denis and the Ionian University. In the recent years she has participated in interdisciplinary research projects about contemporary music and its relationship with other forms of art and in several music and geo-locative projects, and has worked as a musician in education. She is a founding member of Akoo.o collective. At the moment she is a lecturer in the department of Culture, Creative Media and Industries in the University of Thessaly and a visiting scholar at CalArts.

Yorgos Samantas

is a social anthropologist with a particular interest in listening and walking as cultural practices. He is using sound, walking, mapping, photography and video as means for experimentation for the broadening of anthropological research, expression and knowledge production. He has conducted research concerned with sound in youth urban cultures, with the senses, memory, and the urban experience, the environment, mental health, and contemporary art institutions, in Athens, Andros island and Manchester.

He has taken part in art events, residencies, exhibitions, and presentations in Greece and abroad, either solo or with his art group, akoo-o, and has worked as a sound engineer, sound designer and researcher in documentary films, a scientific advisor for the radio, art mediator, and a dj. He is a member of TWIXTlab, a project space situated between anthropology, contemporary art and everyday life.

Dr. Panayotis Panopoulos

is Assistant Professor of Anthropology at the Department of Social Anthropology and History of the University of the Aegean, Mytilene, Greece. His research interests concern the anthropology of music, sound, senses, and performance. His ethnographic publications (in international journals, e.g. Journal of the Royal Anthropological Institute, Ethnologie Française, and in edited volumes) concern the symbolism of sound and hearing in modern Greece, the study of local cultural associations and the role of musical performances in the symbolic construction of place. He has also conducted research on the culture of the Deaf community in Greece and he is collaborating in projects with contemporary artists. “Voice-o-graph”, a project of arts-based ethnography with visual artist Panos Charalambous, was presented at documenta 14, Athens/ Kassel in 2017. He has taught at the Democretian University of Thrace, the University of Crete and Panteion University, Athens. He has been a Research Visiting Scholar at Princeton University (2002-3, 2012) and the University of California, Berkeley (2009). He has also taught as invited lecturer at Martin Luther University of Halle-Wittenberg (2012) and at the University of Cologne (2018). He is a member of the European Association of Social Anthropologists and the Greek Society for Acoustic Ecology.

Brane Zorman

composer, sound and intermedia artist, sound manipulator, producer and curator. Besides composing for the theatre, intermedia and dance, he is focused on developing different strategies, techniques, dynamic and interactive models in his work relating to sound and space, recording and reinterpreting soundscapes and creating electronic and acoustic sound sculptures using sophisticated tools.

Irena Pivka

artist, producer, architect and scenographer. In recent years she has primarily focused on artworks that shed light on the connection between place, sound, map and digital tools. She focuses her developing artistic expressions on the preparation of sound-geolocation performances, which, with the help of location tools and created sound images through walking and listening.

artist, producer, architect and scenographer. In recent years she has primarily focused on artworks that shed light on the connection between place, sound, map and digital tools. She focuses her developing artistic expressions on the preparation of sound-geolocation performances, which, with the help of location tools and created sound images through walking and listening.

Irena Pivka and Brane Zorman are cofounder of Cona institute for contemporary art procesing from Ljubljana, Slovenia, that Steklenik with collaboratin of Botanical Garden UL produce the gallery for sound bio acoustic and art and the ongoing international project radioCona with focus on FM as gallery space.
As Cona institute founders and Steklenik gallery curators their main focus and aim of research and activities is to articulate various aspects, concepts and contents in the vast field of acoustic ecology, sound landscapes and bioacoustics in art.

Pavlica Bajsić Brazzoduro

is an author, dramaturg and director who has been active in radio, theatre and film since 1995. She received MA in dramaturgy at the Academy of Dramatic Arts in Zagreb and in aesthetics at Paris 8. She lives in Zagreb and Berlin.

Her documentary radio dramas and ars acoustica programmes were broadcast on the following radio stations: Croatian Radio, ORF, Swiss Radio, Rundfunk Berlin Brandenburg, Deutschlandradio Berlin, BBC, Chicago Public Radio and the Australian Broadcasting Corporation.

She was a guest lecturer at the New Media dpt at Academy of Fine Arts, at Sound design and Theatre dpt at Dramatic Arts in Zagreb, at Acting&Media dpt. at Academy of Applied Arts in Rijeka and at Experimental Radio dpt. at Bauhaus University in Weimar.

Awards: Prix Marulić Days (Split), Grand Prix de Suisse, Ake Blomstrom Memorial Prize (Amsterdam), Prix Europa Guest of Honour (Berlin), and her work is included in the EBU’s anthology “30 Years of World Radio Documentary”.

Katarina Habe

works as an assistant professor of psychology at the Academy of Music, University of Ljubljana. Because of her musical and psychological professional background, she is successfully integrating the analytical approach of a psychologist and the intuitive holistic mind of a musician. In her Ph.D. thesis, she investigated the influence of music on cognitive functioning, oriented on the Mozart effect. She is regularly collaborating with the Knoll Institute for Music Therapy and Faculty of Arts and Faculty of Education University of Maribor. Katarina also conducts workshops on “The beneficial effects of music on a holistic development in preschool children”. Lately, she orients her research endeavors towards exploring the beneficial effects of music through music therapy on one hand, and through music education on the other hand, in people with special needs.

Rajko Muršič

is professor of ethnology/cultural anthropology at the University of Ljubljana, Faculty of Arts, Dept. of Ethnology and Cultural Anthropology. His research focuses on anthropology of popular music, theories of culture, epistemology, urban anthropology, methodology of anthropological research, sensory studies, etc. He participates as expert researcher in the ERC project Sensotra (Sensory Transformations and Transgenerational Environmental Relationships in Europe, 1950-2020) at the University of Eastern Finland (2016-2021), and B-Air (Art Infinity Radio – Creating Sound Art for Babies, Toddlers and Vulnerable Groups) led by the Radio Slovenia.

Giuseppe Gavazza

laureate of the University of Turin, studied Composition, Direction, Piano, Musicology and Electronic Music graduating from Conservatory of Milan. He has collaborated with European research centres like LIM Milan-University, CSC-Padua University, Experimental Studio SWF-Freiburg, Ircam-Paris. Since 1999 he is resident composer at the ACROE-ICA Polytechnique Grenoble where he completed a PhD in 2018- based on compositional use of software GENESIS-titled, Physical model synthesis as tool for music composition. He currently teaches at the Cuneo Music Conservatory and is permanent researcher at AAU Cresson, Grenoble.

As organizer has been involved in contemporary music, arts and new technologies and musical theatre for children collaborating with Luciano Berio and Sergio Liberovici.
His compositions have successfully participated in international competitions, are published, recorded and broadcast internationally.
As an artist in residence, he has developed collaborations with visual artists, film and theatre directors, video makers, poets, choreographers and dancers, writers, photographers realizing about 150 collaborative projects.

Tina Kozin 

graduated on the Faculty of Arts, department of Comparative Literature and Literary Theory (S). In 2002, she was awarded the Student Prešeren Award for her diploma thesis Fictionality as a Special Form od Modality. Language has always been the focus of her creative and scientific interest, namely its sound and meaning dimension and their interaction. Lately, it is ever more forcefully enhanced by her interest in sound as such, as a phenomenon that – be it positively or negatively – denotes everything alive. She has published three renowned poetry collections and is preparing the fourth; she has taken part in numerous festivals at home and abroad, her poetry has been translated into 9 languages. She also writes scripts for fiction literary shows and sound-poetry performances. One of them, Daljave (Far Away), made the selection to be presented at the Prague Quadrennial 2019. She is the editor of the book collection Stopinje and co-editor of the collection Litterae Slovenicae. For her work as a critic, she was bestowed the Stritar Award for best young critic by the Slovenian Writers’ Association.

Saška Rakef 

is a playwright and director. Projects on the crossroads of radio and theatre art comprise an important part of her opus, along with those based on the research and translation of radiophonic principles and/or the principles of musical composition into the direction-dramaturgy procedures and the procedures of writing for the theatre and radio (development of new dramaturgies and composition possibilities of contemporary texts for the radio or theatre). More concisely, her research focus comprises contemporary art radiophony, direction of sound, sound dramaturgy, post-opera. Her work has been presented at festivals at home and abroad,  nominated and awarded several times (Branislav B Cubrilović Award for best festival production at the 4th International Multimedia Festival Patos(off)iranje, Srbija, Grand Prix at the Juventafest Festival in Sarajevo, nominations for Prix Italia and Prix Europa, etc.).

Bojana Šaljić Podešva

is a composer of mostly electroacoustic music, she focuses on live electronics, musical installations, and in her search for expression, she also reaches towards other art fields. In her work, she mostly researches sound as an entity that affects the listener physically and content-wise; thus, her music spans from total abstraction to complex semantic speeches. She has received several awards at home and abroad, for concert music (Gustav Mahler Kompostions Preis, 32nd International Electroacoustic Music, etc.), as well as for scene music and film scores (e.g. Vesna Award for the music from the film Children from Petriček at the 10th Slovenian Film Festival in 2007), and is regularly represented at important international venues and events (International Rostrum of Composers, Synthèse Bourges, Art of Sounds (Beograd), Slowind, ISCM Svetovni dnevi glasbe).

Maïlys Toussaint

urbanist, is a PhD student in UMR AAU-CRESSON.
Her research aim to understand the habituation process of the inhabitant to ambiances during the urban renewal of the Villeneuve of Grenoble.

Charlotte Laffont

is an architect (H.M.O.N.P degree) with a master degree in arts and practice of language, music speciality from the École des Hautes Etudes en Sciences Sociales (EHESS). She is actually a PhD student with a CIFRE convention in LASA, an acoustic company. Her thesis topic is Housing design through sonic experiments – COLEXSON. 1.1 scale prototype experimentation of cooperative living through listening. She is supported by Olivier Balaÿ (thesis director in CNRS AAU-CRESSON research laboratory from the ENSA Grenoble), Samuel Tochon-Danguy (LASA partner) and “Chaire partenariale d’architecture Habitat du Futur” (a research and development agency focused on the issue of eco-responsible, economic and adaptable based at the GAIA in l’Isle-d’Abeau).
This experiment will be part of the study phase of the macro-lot B of ZAC des Gratte-ciel in Villeurbanne (69). This research is supported by all the actors of the project : ANMA office (Nicolas Michelin, chief architect of the ZAC and the macro-lot B in which the experiment will be carried out), the metropolitan developer SERL, the real estate developer Quartus and « Habitat et partage » responsible for the cooperative housings.
Various conception tools will be developed by this research work:

  • Virtual sound models
  • Sound tracks to illustrate the «city of tomorrow»
  • Graphics representations and analysis of sound environments
  • A 1.1 scale constructive prototype

Ryma Hadbi

urban planner, is a PhD student at the School of Architecture (ENSA) of Grenoble and member of the laboratory CRESSON (UMR Ambiances, Architectures, Urbanités 1563 – Université Grenoble Alpes), since January 2018. Her research concerns the attachment of the inhabitants in low-rent housing of the years 1920-1930 (low-rent housing of l’Abbaye, la Capuche and Jean Macé in Grenoble) to determine what makes heritage and think their transformations.

Georges Abou Mrad

Holds a master degree in architecture from the Holy Spirit University of Kaslik (USEK), Lebanon and a master 2 degree in Urban Design From Institut d’Urbanisme et de Géographie Alpine (IUGA), France. He has been carrying out his doctorate since December 2019 on the subject of the struggle of atmospheres in the isolated districts of the Lebanese capital Beirut.

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Citer ce billet
juL McOisans (2021, 8 janvier). Winter School 2021 – Programm & Team. Le Cresson enseigne. Consulté le 22 juin 2024, à l’adresse

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