Aernoudt Jacobs (*1968) lives and works in Brussels. Aernoudt Jacobs' work is both phenomenological and empirical. It originates from acoustic and technological research and investigates how sounds still can yield sonic processes which will trigger the perceptive scope of the observer. Jacobs' work focuses on a central question: how can the complexity, richness and stratification of our direct, daily environment be translated into something that can really be experienced? Perception is an important aspect in his work. Perceiving music, sound, harmonies is an activity that is always linked to memories. This association is an ongoing preoccupation that is visible in most of his work. With the aid of psychoacoustic theories, he explores how perception can be influenced and how to express sound physically, spatially and emotionally. His work has recently been presented in venues like Bergen Art Museum, Macba, ISEA, Netwerk, NIMK, Happy New Ears, Almost Cinema, STUK and Tschumi Paviljoen.

Generally my work sets out from a fascination for sound, in any form. This explains how I get raw material from reality: with a microphone and recorder I make field recordings. This way of work helps me mostly to understand and reflect on how sound around us ‘exists’, how (acoustic) phenomena relating to our daily environment influences fundamentally the sonic landscape and how our perception occur. My works are the result of a research of the different aspects of field recordings and how to assimilate this material to new forms, new contexts. For me the actual resulting field recordings are only a registration. The act, the memory, the context of the recording is an even more interesting and complementary motive for my research. The output of my work hovers as some kind of an interaction between micro and macro, inside and outside, fieldwork and studio, reality and fictionalization.