Skip to main content


OBSERVATIONS: In a world leaning more and more towards noise in communication, creating a map that allows us to navigate and evaluate things is essential. Standards in their broad meaning may help us to go through an ocean of information, let us feel constrained, and yet allow us to go beyond, setting up eventually new standards. CONTEMPLATIONS: From conclusion back to premises, it is fascinating to have a closer look at how we can eliminate irrelevancies & inconsistency and check at cross-references & potential controversial suppressed info. Formal logic, sixteenth-century counterpoint, and computer coding have been great comparative examples to understand the interrelation and commonalities upon which these three very different subjects create an incredible variety of creative outcomes and ramifications through the base of apparently rigid rules. Each practice revealed to me the delicate balance to what logically possible and empirically possible may embody. INTERROGATIONS: Is there a saturation point where the law of formal logic, based on a science that is old enough by now, can disclose a different and perhaps innovating approach in thinking? Which implication may this have on the process and outcome of artistic research? The 'process' to me remains yet the most crucial part of the journey. REFLECTION KEYWORDS: Ampliative, Code, Conflict, Critical Reasoning, Empirically Possible, Error (vs) Information, Logical possible, Principle of Charity, Structure.

Stella Louise Göke studied classical singing in the Netherlands and graduated with a Bachelor of Music in 2014. Since graduating, she has lived in her adopted city of Cologne and works as a freelance singer and actress in a wide range of projects across Europe. She has been studying music education in the Master of Arts programme at the University of Music and Dance in Cologne since 2019. Artistic research allows the young soprano to combine two passions of her artistic work: performing on stage as a singer, experiencing music, and scientifically penetrating these processes and discovering new, previously unimagined things. 

The week in Oslo was so special for me because although everything went on Zoom (what can be very exhausting) we had a lot of time. There was space to breath, to let impressions sink and to give room to own thoughts. There were lectures from people and very interesting projects to talk about. But there were also experiments with funny things to do. Although I was in my room I started to sing and to explore my instrument in different ways. How do you reflect? Of course you can think about stuff but what else can you do? What material can you use? How can you tell somebody that you reflect without using your voice? And especially for me as a singer it was very interesting to start reflecting without my voice. Because I am used to use my voice all the time. They talked about and taught me to be open to use different materials. So I started to use a tomato. I reflected on the fact when I walk around I sometimes do not feel secure and I feel vulnerable. Especially on stage. And so I choose a tomato: It seems to be very strong, but it is soft and when you smash it, it exploses in every direction. And I kind of reflected on my thoughts of precarity by smashing tomatoes.

Observations: Organization of modern artistic thought – Sound Object Concerning: Listening process, Acousmatic Music, Sound Perceptions, Interior Architecture, Design, the way music is listened nowadays. Why write experimental electronic music via new audio devices? Contemplations: The way music is listend nowadays. Design, Listening process, Acousmatic music. Interrogations: How the way we listend to music today cna influence the thought behind new compositions? Can we reformulate a musical thought which starts from an acousmatic practice that involves solid-based sound objects? How can we integrate new environments and sound diffusion methods?