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Graduating from our Electronic Music Production and Performance [EMP] programme in 2022, Frederic was barely out of the Catalyst doors before showcasing his project Mantissa Audio at Superbooth – the world's largest trade show and festival for electronic music instruments, taking place annually here in Berlin.

Mantissa Audio began when Frederic started learning about programming, shortly before joining Catalyst and the brand has grown alongside his obsession with digital audio processing. A self professed nerd, Frederic used his time at Catalyst doing what he loves: exploring the hazy space between art and technology. We caught up with Frederic to find out more about Mantissa Audio, how Superbooth and Catalyst have helped Mantissa Audio develop, and what wisdom Frederic could share with others looking to make their artistry economically viable. 

Mantissa Audio began circa 2019. Practical, technical and theoretical knowledge that Frederic gained both in and around the EMP curriculum has refined the Mantissa Audio project. Frederic points to the name of their brand, explaining that Mantissas are the bits (0s and 1s) of a digital decimal number (FPU) that represent significant figures.

“Each module idea of mine is intended to realise a concept that could only be done, or done best, in the digital domain. I'm fascinated by the idea that everything in digital processing is built on simply 1s and 0s.”

If this is sounding very technical, it’s because for Frederic this has become a second language after investing more than four years into the topic.

Frederic’s obsession with music in the digital domain is not slowing down – they intend to explore algorithmic music and generative concepts as much as possible. "Euclidean sequences and rhythms are widespread in Eurorack already, and also gaining popularity in the box. I think there are many other similar concepts, based on alternative algorithms, that can be explored as well. Using the Collatz Conjecture, for example, to generate sequences and make a sort of data sonification based system." One prototype Frederic brought with them to Superbooth used the Collatz Conjecture.

Superbooth is perhaps the biggest expo for synthesisers and electronic music technology currently running. Manufacturers come together to announce and demonstrate the latest in their product lines, audio technophiles come to play with the latest goodies and scenesters gather to share their anecdotes. Europe's premier music tech shindig draws crowds from well beyond Berlin and is a technology paradise for music nerds, providing the perfect setting for Frederic to showcase their brand.

“Superbooth definitely informed my practice and the progression of Mantissa Audio.”

Frederic’s approach was to only bring prototypes, instead of officially releasing any modules, using the show to get feedback and gauge interest from the community before going all in. “The feedback I got was incredibly positive, and has given me a fresh motivation to finish the first prototypes right away". Follow the Mantissa Audio story on Instagram.

Let’s take it back a step. How did your experience at Catalyst shape Mantissa Audio?

Frederic was quick to mention the tuition received from Jeff Stern during a third year module as pivotal - during this module Frederic developed two prototypes. “Jeff was incredibly helpful during this process, and I knew all the feedback I was getting from him was always 100% honest and to the point". Robin Koek also took on a main role for Frederic, and Robin’s MAX/MSP course during the second year was influential. 

I felt like I could relate a lot to Robin on a technical/artistic level… sometimes I find it difficult to find people who I think share my opinions and level of nerdiness of art/technology.

Our goal is to give our students as many tools as possible to explore their craft from multiple angles. The tools available brought Frederic’s ideas to life - and before coming to Catalyst, Frederic had never heard of Eurorack. Eurorack is a particular format of modular synthesiser originally introduced by Doepfer Musikelektronik. Our music tech shop has six Doepfer cases with modules from various manufacturers, as well as a Roland system 500 plus Eurorack compatible instruments like the Moog Mother-32 and Doepfer Dark Energy. “Eurorack is very expensive, especially for students, so I'm definitely grateful that I had the opportunity to explore modular synths at the school. Even now, my personal system is just a few modules, a fraction of what's available at Catalyst.”

Find out more about our music facilities here.

We’re really inspired by your trajectory, what advice do you have for other up and coming artists?

Frederic was surprised at the demographic of the crowd at Superbooth and said this was a useful takeaway. "I met many people who will probably play an important role in the development of the company and the release of the first modules. I was expecting to be talking mostly to modular synth artists and enthusiasts, but there were also quite a few shop owners and some manufacturers that I met, who I probably wouldn't have had the opportunity to meet otherwise." They also made it clear it’s best not done alone. "I had some of my peers help me during the show, but next time I will definitely try and have someone who is at the booth with me the whole time". 

We were curious if there was any advice for those earlier in their creative journey. 

A great starting point for Frederic was an online course they did - Crash Course Electronics and PCB Design by Andre LaMothe. The course taught him foundational skills like how to read a datasheet, and the terminology needed in order to find resources to continue learning about synthesizers. “There was a lot of this basic knowledge about electrical engineering that I had to learn which allowed me to search for other learning resources more intentionally.”

Frederic also pays dues to the city of Berlin, for its restless electronic music scene. “There are so many DIY and electronic parts shops and just the ‘wont-take-no-for-an-answer’ attitude of the city has helped me to feel like my goals are accomplishable.”

Keep reading about innovation in music technology

Superbooth stall was a learning experience within a longer journey for Frederic Scheer's Mantissa Audio

Catalyst alum presenting at Superbooth

Alum Frederic Scheer steps onto the scene at Superbooth with Mantissa Audio

Discover the sounds of an altered post-pandemic culture with Volume Two: the third release in our student cassette series. Get your hands on a physical copy or enjoy our annual compilation on SoundCloud. 

Welcome to the latest retro-ready, lofi-loving music experience at Catalyst. We're proud to showcase the extraordinary talent of our music production students through our latest cassette tape compilation: Volume Two. This latest release showcases the hard work and dedication of our music production students from all years and courses in the 2021/2022 cohort, reflecting the sounds of a post-pandemic culture.

Building on the success of Volume Zero and Volume One, second-year Electronic Music Production and Performance student Salman Khan took the reins of the project, to curate the latest compilation and expertly project-manage the process from ideation to launch. He has collaborated with mastering engineer and Catalyst alumnus Yann Clemence, to get the tracks both tape and digital-ready.

Meanwhile, our Creative Production in Music Masters student Mario Scarfiglieri brought to life a unique cover art that incorporates AI-generated imagery in the design. The result is a beautiful and communal art piece that represents the innovation and creativity of our students.

The cassette series was born as we relaunched ourselves under the new name of Catalyst in 2020 (formerly dBS), as a way to document the evolution of our school, celebrate the hard work of its community, and showcase the diverse music styles and practices that make Catalyst the unique and inspiring place it is. Our mission is to empower our students to dream big and this Volume is a reflection of that spirit.

We're happy to continue a showcase of our student work in a medium that reunites listeners with a physical reality, bringing forward the learned lessons of the past years to create something both beautiful and communal.

Driven in part by the popularity of Netflix's Stranger Things 4, which then proceeded to take over our TikTok and Insta feeds for months to come, the medium that was staple in the 1980s is still getting a lot of attention. In case you need reminding, you're invited to listen to one of our second year Creative Audio Production & Sound Engineering student's covers of Kate Bush's Running Up That Hill in the album showcasing series CAP Selects Season 3.

We dug into some research to find out what music kind of music is being released on cassettes. While the top 40 charts in cassettes do feature some names you might expect - Iron Maiden, Ozzy Osbourne and Robbie Williams - whose audience are more likely to have a cassette player without a usb dock, the majority of the 2022 cassette top 40 were fresh releases from that year. Testifying to the resurgence of the cassette, Arctic Monkeys, Muse, Machine Gun Kelly & Digga D have all released music in cassette format. It also goes to show that the medium is not restricted to one single genre.

An interesting feature that some of our music students may look into playing with is limited edition fan-targeted formats. In 2022 we saw how cassette releases by both 5 Seconds of Summer and BLACKPINK's were available in a variety of colourways or with artwork and design reflecting specific band members.

Discover the sounds of an altered post-pandemic culture with Volume TWO: the third release in our student cassette series.

The latest retro-ready, lofi-loving music experience from the Catalyst Berlin hallways showcases the extraordinary talent of our music production students. A compilation reflecting the hard work and dedication of our music production students from all years and courses, reflecting the sounds of a post-pandemic culture.

Tracklist
Side A:
Parallel Processing and Duhne - A Deux
Frivolous - Pandora's Trash
Mister Bloo - Jennie & The Bets
Rafaela - LUZ
Lyndon Lewis - Blessed Are The Cracked
DJ Whaletail - Marim biology 5

Side B
Anneke Thompson - MIFU
NINI NUTSUBIDZE - SISSAA
aavaa - Still Disintegration
Surrealich - Out of Drama
Svansy von Swansea - Everything
TEDTEDTED - MOSH_1

Read more about the ideas going into the series at:
https://catalyst-berlin.com/stories/catalyst-cassette-volume-two

Tracks mastered by alum Yann Clemence
Artwork designed by Mario Scarfiglieri
Berlin, Spring 2023

Catalyst Volume TWO by Etikett Radio

You can purchase Catalyst Cassette Volume Two during any one of our public events. Or, if you’d like to ‘collect’ this edition among your liked SoundCloud tracks, listen to the compilation in full above. Want to dig further? Scroll down to browse the featured artists and to learn more about their tracks. 

You may not know that the original Walkman came with two headphone jacks - so that you and a friend could listen at the same time. We want to channel this nostalgic element of the technology and encourage you to pass Volume TWO onto a friend to listen. 

The 3rd edition of our collectible cassette series is out on tape and SoundCloud. Read about the release and the featured student tracks.

Catalyst cassette Volume TWO is out now

RSB x Catalyst is back. The third instalment of our ongoing collaboration, Mensch Musik #7 on Saturday 22 April, will take a critical look at human destructiveness and its consequences, from the tragedy of Hiroshima to the extinction of animal species. But the performance doesn't stop at lamentations and accusations, it also searches for possibilities for healing within the means of art. 

Conducted by Roderick Cox and conceived and realised by the artist duo tauchgold, this interdisciplinary performance of electronic and symphonic music with spoken word is part of the RSB’s dedication to making classical music accessible and welcoming to newcomers.

Closing the performance will be Eliad Wagner, Programme Lead for our Electronic Music Production & Performance courses, and Natalie Szende, a student on the same course. Eliad will perform two pieces for solo synthesiser, incorporating the live sound of the orchestra . Meanwhile, Natalie has composed ‘Oceanic Oscillations’ - a homage to the power of the sea. We caught up with Eliad and Natalie to find out more about their inspirations and artistic approaches ahead of the performance.

What story would you like to tell in the performance?

Natalie: The piece I have composed is a contemporary homage to the sea. Less from a perspective of the spectacle of the waves, but rather as a dive underneath the surface. What we encounter can be unknown, unusual, and even uncanny. The ocean is an eternal mystery for humankind – purifying, soothing, destructive, beautiful and dangerous at the same time. A true force of nature.

Eliad: I don't really tell stories with my music but there is always a strong nuanced connection with the context and the event. While I create the music, the theme of the event is prominent for me - the human connection with nature, how we need it, abuse it, pollute it and learn to achieve harmony with it. There is constant negotiation and entanglement in this relationship.  As a person who’s very close to and interested in technology, I see a clear connection between our relationship with technology and our relationship with nature. There are also many parallels to draw between that and the relationship between classical music and electronic music. They are both different ways of indoctrinating the natural phenomena of sound. To some, one could feel more natural than the other. 

“I see a clear connection between our relationship with technology and our relationship with nature.”
Eliad Wagner

Eliad: I’m working on two pieces for a solo synthesiser. So I will play pieces alongside the orchestra and other artists. However, I plan to work with the sound of the orchestra and the sound of the concert hall. In this way, I plan to feel quite connected to the whole orchestral experience rather than sounding like a separate thing.   

I’m excited by being in the proximity of the orchestra which is one of the most amazing musical structures/instruments. It is impossible to ignore how heavy this setting is with tradition and ritual. It's a unique challenge to create something for that stage. 

Natalie: Sounds of the ocean, the wave-like melodic movements of the acoustic instruments and the oscillating energies of electronics will fuse into one listening experience in my piece ‘Oceanic Oscillations – for synthesised seascape, symphonic orchestra & human voice’. 

In the language of electronic music, when we are talking about synthesis, mostly we mean this to describe physical phenomena. But it has a strong philosophical connotation as well. Posing questions like: What is music? What can music be? To me, musical composition is not only sonic. It can include spatial, visual, but also interpersonal elements. 

“Musical composition is not only sonic. It can include spatial, visual, but also interpersonal elements.”
Natalie Katharina Ilona Szende

Which technical or conceptual ideas are you exploring through your contribution to the performance?

Natalie: I’ve been exploring the concept of Deep Listening –  earlier this year I invited an audience at CTM Vorspiel to participate in a Deep Listening experience. Deep Listening was founded by the composer and pioneer Pauline Oliveros. In her own words, “All cultures develop through ways of listening… Deep Listening is the foundation for a radically transformed social matrix in which compassion and love are the core motivating principles guiding our actions.”

Oliveros is saying Deep Listening is one important step towards empathy. I also believe that the way to the outside, like a general awareness of each other and our environment, inevitably leads through the inside. In this way, I hope my underwater piece will resonate ‘under the surface’ in the perception of the listener. 

Eliad: I work with a modular synthesiser, which is quite a chaotic and malleable instrument. In this performance, my intention is to find different ways to project sound in the space. I also plan to use recorded sound, which is something I do very rarely but I feel it connects well with the concept of the event.   

Presenting electronic music inside a "temple" of classical repertoire, like the RSB’s Haus des Rundfunks, is not a simple thing. There is a charged relationship between the two practices and struggles of political, ideological and aesthetic nature. It's hard for me to ignore that value is sometimes being appreciated differently between the two practices – things that are very hard to achieve in one are very simple and quite basic in the other, and vice versa. This idea finds its way into the piece as well, but ultimately people will connect to it on their own terms.

“Presenting electronic music inside the temple of classical repertoire is not a simple thing. There is a charged relationship between the two practices.”
Eliad Wagner

The theme of Mensch, Musik! #7 points to how we are not isolated, but part of a something bigger. How does this concert sit within the rest of your practice?

Natalie: Aside from my investigations into Deep Listening, my practice brings me to explore something I call “cinematic dreamscapes”, in which I create atmospheres that go further than aiming to mobilise a certain feeling. This relates to how, as a listener, I am fascinated by ambiguous situations. When my emotional buttons are not pushed in a certain way, but rather I am given space to take a musical journey myself, which is much more engaging.

I’ve also been participating in the HyperSynth workshops between Catalyst and the RSB, in which we’ve had the amazing opportunity of discussing and playing with some orchestra members. These conversations and touch points between any genres, disciplines and cultures are very important, so I’m grateful for this initiative.

Eliad: Acknowledging and considering the part we have in the larger world around us – be that society, our professional practice or the natural environment – is very connected to both my musical practice as well as my work in leading the Electronic Music Production & Performance courses. It is possible that these ideas are more evident through my academic work, since this topic is often discussed with students at every stage of their journey at Catalyst.

Tickets for the Mensch, Musik! #7 performance at Haus des Rundfunks on Saturday 22 April are available here. 

Want to hear more from Natalie? Watch her "Paternoster Pitch" interview with RSB below, in which she gives an 'elevator pitch' of her artistic ideas while riding the RSB's historic elevator system.

Paternoster Pitch mit Natalie Katharina Ilona Szende

Our collaboration is going live with it's first installment of Mensch, Musik! which will cross examine the idea of borders

Mensch, Musik! - Catalyst x RSB collaboration

Catalyst returns to the Haus des Rundfunks for Mensch, Musik! #7

We're back with Season 3 of CAP Selects: a weekly series that puts the outstanding work of our second-year Creative Audio Production & Sound Engineering BA students centre-stage. Students are tasked with writing a seven-track album from scratch that meets a creative vision. They can explore any idea they choose – the only limitations to this brief is that two of the tracks must be collaborative and another two must be covers or reinterpretations of original work. 

Listen to and read about our five week-by-week selections below for Season 3.

We're back with Season 3 of CAP Selects: a weekly series that puts the outstanding work of our second-year Creative Audio Production & Sound Engineering Bachelor students at centre stage. Students are tasked with writing a seven-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose - the only limitations to this brief is that two of the tracks must be collaborative and another two must be covers or reinterpretations of original work

"My original idea for this album was to explore a new artistic side in me in order to create something danceable and energetic that DJ's can use for club sets. At the same time, I felt the urge to better understand electronic music and its structure in order to reinforce my arrangement skills. That's why my inspiration path led me back to the 80s of music. There would be no better era than that time to gather inspiration from and to create my own catchy melodies and exciting song structures.

I quickly got drawn in by big snares, analogue synthesizers, electronic basslines, and catchy vocals. And so, I began to think about how I could create a concept that would fuse the sound of the 80s with modern sounds and production techniques. That’s how my album concept was born: 80s meeting the future."

Head to the blog for more albums of the week: catalyst-berlin.com/stories/cap-selects-albums-s3

Find out more about our Creative Audio Production & Sound Engineering courses at www.catalyst-berlin.com

CAP Selects: Albums S3 | Extraterrestrial by Numa by Etikett Radio

"My original idea for this album was to explore a new artistic side in me in order to create something danceable and energetic that DJ's can use for club sets. At the same time, I felt the urge to better understand electronic music and its structure in order to reinforce my arrangement skills. That's why my inspiration path led me back to the 80s of music. There would be no better era than that time to gather inspiration from and to create my own catchy melodies and exciting song structures.

I quickly got drawn in by big snares, analogue synthesizers, electronic basslines, and catchy vocals. And so, I began to think about how I could create a concept that would fuse the sound of the 80s with modern sounds and production techniques. That’s how my album concept was born: 80s meeting the future." 

Season 3 of CAP Selects: a weekly series that puts the outstanding work of our second-year Creative Audio Production & Sound Engineering Bachelor students at centre stage. Students are tasked with writing a seven-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose - the only limitations to this brief is that two of the tracks must be collaborative and another two must be covers or reinterpretations of original work

"I often think about what it means to grow toward the light without shielding it from others. It requires a great deal of questioning patterns and reflecting on the roles I willingly take as well as the roles I have been given. In societies made of social constructs telling us who we are and who we can be, this questioning has led me to a deep well of freedom and uncertainty. These feelings push me to the language of music.

While writing and recording my album, Bent to Fit, I was thinking about how some relationships have completely changed the way I see the world. Bent to Fit is not only an exploration of these relationships but also of my relationship to myself. I am interested in how they reinforce and affect one another. There is a reason we are drawn to the people we are drawn to, and I enjoy pondering these subconscious attractions. I have identified parts of myself, positive and negative, through witnessing them in others, and through witnessing my own countering reactions."

Head to the blog for more albums of the week: catalyst-berlin.com/stories/cap-selects-albums-s3

Find out more about our Creative Audio Production & Sound Engineering courses at www.catalyst-berlin.com

CAP Selects: Albums S3 | Bent to Fit by Antonia Estelle by Etikett Radio

"I often think about what it means to grow toward the light without shielding it from others. It requires a great deal of questioning patterns and reflecting on the roles I willingly take as well as the roles I have been given. In societies made of social constructs telling us who we are and who we can be, this questioning has led me to a deep well of freedom and uncertainty. These feelings push me to the language of music.

While writing and recording my album, Bent to Fit, I was thinking about how some relationships have completely changed the way I see the world. Bent to Fit is not only an exploration of these relationships but also of my relationship to myself. I am interested in how they reinforce and affect one another. There is a reason we are drawn to the people we are drawn to, and I enjoy pondering these subconscious attractions. I have identified parts of myself, positive and negative, through witnessing them in others, and through witnessing my own countering reactions."

Dimensia is a Cinematic Trailer Music concept album, written in FL Studio 20, following the story of a daughter whose father's dementia is getting more severe every day (song) that passes. Dimensia is a conjuction (portmanteau) of the two separate words dementia and dimension. In the album you will hear re-occurring motifs, themes and phrases in alternative variations that resemble the symptoms of dementia.

Telling a story through nonvisual content can be quite challenging. However, I believe that this is a great way to present a story through audio but also for making it clear to the listener that these songs are connected. This is something that I’ve always wanted to do but have never attempted before.

Felix Jansson - Dementia by Etikett Radio

"Dimensia is a Cinematic Trailer Music concept album, written in FL Studio 20, following the story of a daughter whose father's dementia is getting more severe every day (song) that passes. Dimensia is a conjuction (portmanteau) of the two separate words dementia and dimension. In the album you will hear re-occurring motifs, themes and phrases in alternative variations that resemble the symptoms of dementia.

Telling a story through non-visual content can be quite challenging. However, I believe that this is a great way to present a story through audio but also for making it clear to the listener that these songs are connected. This is something that I’ve always wanted to do but have never attempted before. "

Season 3 of CAP Selects: a weekly series that puts the outstanding work of our second-year Creative Audio Production & Sound Engineering Bachelor students at centre stage. Students are tasked with writing a seven-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose - the only limitations to this brief is that two of the tracks must be collaborative and another two must be covers or reinterpretations of original work.

"The origins of the concept towards this album emerge from the neurotic observation that all elements in a piece of music correlate together not only harmonically but also, somehow, magnetically. As waves, wind currents, or volcanic eruptions have proven effects on the magnetic field of precise locations, elements in music have the same kind of effect between each other as well as towards humans and what they perceive acoustically and emotionally. This consistent observation triggered the vision, the concept and the focus of this resulting insightful album.

Within this collection of pieces, the main center of attention was to work with raw elements, most often related to electricity, wind and more generally nature, to create a permanent spirit of morphing texture layers emphasizing the sense of attractive poles and parallelism."

Head to the blog for more albums of the week: catalyst-berlin.com/stories/cap-selects-albums-s3

Find out more about our Creative Audio Production & Sound Engineering courses at www.catalyst-berlin.com

CAP Selects: Albums S3 | Matter & Magnetism by Etikett Radio

"The origins of the concept towards this album emerge from the neurotic observation that all elements in a piece of music correlate together not only harmonically but also, somehow, magnetically. As waves, wind currents, or volcanic eruptions have proven effects on the magnetic field of precise locations, elements in music have the same kind of effect between each other as well as towards humans and what they perceive acoustically and emotionally. This consistent observation triggered the vision, the concept and the focus of this resulting insightful album.

Within this collection of pieces, the main center of attention was to work with raw elements, most often related to electricity, wind and more generally nature, to create a permanent spirit of morphing texture layers emphasizing the sense of attractive poles and parallelism."

Season 3 of CAP Selects: a weekly series that puts the outstanding work of our second-year Creative Audio Production & Sound Engineering Bachelor students at centre stage. Students are tasked with writing a seven-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose - the only limitations to this brief is that two of the tracks must be collaborative and another two must be covers or reinterpretations of original work.

"My album is a soundtrack to a life from birth to death highlighting specific experiences to tell a story which is open to interpretation. It is not about any one specific person, but the hope is that the listener will relate to the ‘main character.’ The individual tracks are not necessarily meant to force the listener to feel the given emotions or experiences, though I hope to have achieved that to some extent as well. Rather, they convey the complicated journeys one takes to express, come to terms with, or to mature through the inevitable struggles one is faced with throughout life. If there is one constant theme throughout the album it would be just that; struggle."

Head to the blog for more albums of the week: catalyst-berlin.com/stories/cap-selects-albums-s3

Find out more about our Creative Audio Production & Sound Engineering courses at www.catalyst-berlin.com

CAP Selects: Albums S3 | Beyond Myself by Nicholas Schuman by Etikett Radio

"My album is a soundtrack to a life from birth to death highlighting specific experiences to tell a story which is open to interpretation. It is not about any one specific person, but the hope is that the listener will relate to the ‘main character.’ The individual tracks are not necessarily meant to force the listener to feel the given emotions or experiences, though I hope to have achieved that to some extent as well. Rather, they convey the complicated journeys one takes to express, come to terms with, or to mature through the inevitable struggles one is faced with throughout life. If there is one constant theme throughout the album it would be just that; struggle."

Check out Season 3 of showcase albums by our Creative Audio Production & Sound Engineering students. Listen to our album of the week.

Albums by Berlin's Emerging Artists

CAP Selects Season 3: Listen to our student albums of the week

Student showcase exploring interactive visual effects techniques

Today we're celebrating three projects from our Visual Effects, Digital Arts and Animation courses that sparked our imagination. In the showcase video you'll hear from three students and VFX tutor Matthieu Schmit (from GhostRaum), and get a glimpse of how we help students take ideas and develop them into finished and interactive projects.

In his project titled Formula, Oguz Karakose enjoyed learning about real time rendering while exploring the idea of freedom within emotional expression. Formula uses TouchDesigner, a visual development platform that allows you to create stunning realtime projects and rich user experiences such as interactive media systems, architectural projections, live music visuals and more.

Savina Janssen’s Cubic Dream helps reconnect individuals with nature through motion detection technology. Using TouchDesigner and Microsoft Kinect Azure, which allowing users to interact intuitively without any intermediary devices, visitors can play and interact with Savina's dreamy flower based particle system.

Finally, Ethan Ho’s Paths Cross took inspiration from the process of mixing ink and creating paintings. Using TouchDesigner and a projector as a canvas, Microsoft's Kinect sensor maps each body's movement, turning the participants into a brush. Paths Cross allowed visitors to use the installation to collaborate in creating a unique work of digital art together.

Catalyst interactive VFX projects showcase

More on our VFX, Digital Arts & Animation courses

Showcase of 3 VFX & animation projects. Watch a video of how our students learn visual effects and work towards getting a career in vfx.

Visual Effects project showcase

Three student VFX projects that put our wheels in motion

For those asking "is screenwriting a good career", here's eight games where the writing elevates this type of digital art.

Who said you have to have a boring job? On our 1- and 3-year Higher Education Screenwriting courses we set you up for success, ready for the full range of media industries requiring aspiring writers like you. Today, more than ever, the film and TV industries are capable of setting new fashion trends and igniting social discourse. However, screenwriting doesn’t end when the credits of your favourite film or series start rolling. Today, we’re taking a moment to celebrate a media blossoming into its own, video games. 

Video games may have started as graphics and gameplay but in the modern age, the scripts behind them are crafting beautiful storylines, providing characters of depth and giving us language with which to discuss challenging topics. By any measure, video games are transforming the film industry. That’s why we’re taking inspiration from the Catalyst Film Awards, and giving due praise to some brilliant games. The only entry requirement for these awards - the games have to implement great writing or use of words that sparked the imagination of those that played the games.

Disco Elysium is one of the highest-rated games released during the 2010s, with the game centred entirely around dialogue. A role playing game with excellent writing, Disco Elysium is a murder-mystery with an amnesiac police officer as the protagonist. The way in which language leads this game sets it apart from other competition, and the narrative is widely compared to classical literature rather than other video games. Written by Estonian novelist Robert Kurvitz, the storyline explores everything from disco, drugs and sex through to politics and dystopia into a well thought out and in-depth role playing mechanic.

Don’t just take our word for it, Disco Elysium won many awards, including Best Narrative at The 2019 Game Awards, and Best Narrative at the 2020 BAFTA Game Awards.

This award raises the interesting debate gaining traction in entertainment - how video games are transforming the film industry. Using the performance capture technology that brought us Andy Serkis’ Gollum in The Lord of the Rings (and later Benedict Cumberbatch’s Smaug in the Fellowship of the Ring) an entire performance can be recorded and mapped onto your favourite video game characters.

While Death Stranding earns an honourable mention for its star cast including Norman Reedus, Mads Mikkelsen and Léa Seydoux, it is Christopher Judge’s performance in God of War Ragnarök that takes home the prize. Writters Matt Sophos, Richard Zangrande Gaubert, Cory Barlog also received awards for Best Videogame Writing Category at the WGA for God of War in 2019. This short behind the scenes video gives an glimpse of how Judge gives every bit of himself to the role, elevating the God of War series from what was once a basic platform game, in which progression was measured by the size of the monster being battled, to an insightful tale of growing up that many teenagers will relate to on a personal level.

VFX, Digital Arts & Animation LABS - 2nd year workshops (2021)

An absolute masterpiece that revamps post-apocalyptic zombie survival, adding an immersive narrative that players can not help but be pulled into - The Last of Us doesn’t just create relationships between characters, but also with the player themselves. The emotional core of the game is based around the evolving link between the two main characters - Joel and Ellie. It is the plot that puts this game in a league of its own, with Joel’s father like protection serving as a narrative cornerstone.

In 2014 Neil Druckmann, now co-president of Naughty Dog, accepted an award from Writers Guild of America for Outstanding Achievement in Writing for Video Games. Three and a half years in the making, many fans throughout the web believe this game deserved much more recognition for the writing.

In 2023, perhaps it will get the Oscar that many claim it deserves, as it is released on HBO in TV series format, staring Bella Ramsey as Ellie and Pedro Pascal as Joel.

While Silent Hill 2’s abstract monsters, designed by Takayoshi Sato - which you could be forgiven for thinking were generated by AI software that doesn’t understand how many limbs a human has - are a intriguing feature, the game tells a haunting story of a world manifesting off the protagonist’s inner demons.  As with The Last of Us, the best horror games are those with realistic characters, who’s flaws or imperfections aid in portraying them as genuine human beings.

Written by Hiroyuki Owaku and Sato, Silent Hill 2 is a psychological horror rather than all gore and fright, the narrative led game with multiple endings was at odds with the trends in video games at the time. This approach came to define the possibilities of game narrative for future titles in the genre.

College dropout Mae Borowski returns home to the crumbling former mining town of Possum Springs, seeking to pick up her directionless former life. But her hometown has changed dramatically. Mae is sucked into an unlikely adventure, rekindling former relationships and creating new ones. Night in the Woods also concerns itself with serious topics, such as stages of early adulthood, the challenge of a loss of a relationship or mental health issues like depression. Mae works through her issues through the relationships she forms. Written by Scott Benson and Bethany Hockenberry, this game will make you laugh, cry and if you have anything in common with the protagonist, may lead to some deep introspection.

The Sims, and it’s internal language Simlish, has a special place in our heart. The language was born out of technical needs, as developers would need 6 discs of dialogue per language to fill the game, and the makers still believed it would get repetitive. Will Wright's creative solution was to making their own language captured the imagination of many players.

In 2023, Simlish is making a comeback, with some trending online making renditions of early naughties pop tracks in the gobbledygook language - #simlish.

Matt DesLauries' online game Wayfinder is highly impressive from a technical perspective, and the digital wizardry is celebrated widely through multiple awards. Wayfinder gets a special mention here, because it puts the words in the hands of the player. The game is “an expression of our connectedness to the natural world”. It allows us to explore the poetry of nature while renewing a damaged ecosystem . Released by National Film Board of Canada, the game uses generative art and highlights the action/reaction relationship we have as humans with nature.

The back end's use of cutting edge technology like machine learning is paired with a beautiful hand-drawn aesthetic. In this game you can explore and create poetry, generated algorithmically and individual to each visit with near infinite possibilities.  Or find some respite by simply float aimlessly through a world and listen to the birds singing through your speakers, reconnecting you with the natural world through a digital portal. Wayfinder has received nine awards, including two Awwwards 

Final Fantasy XII is set in a fantasy world in which empires wage endless wars, later re-released as Final Fantasy XII - the Zodiac Age. A quintessential underdog tale, small-time protagonists go on to become champions of their kingdom. Originally, this chapter of the Final Fantasy series was a close call for receiving the Best Dialogue award - reflecting the incredible graphics and art direction based on the Classic Era, the dialogue in this game progresses like a classical play. Character interactions don’t take a back seat in this game, but rather drive the game forwards.

Final Fantasy XII received several awards and nominations, but what ignited our fires the most here at Catalyst was the diversity of awards, including two nominations for Best Original Score, written by Hitoshi Sakimoto - one of the most sought out composers in the video games industry. The Final Fantasy series brings a highly collaborative and holistic approach to their storytelling - whether that means employing orchestras to make the soundtrack or developing their fantasy world to feature length films.

Our new Music and Sound Design for Visual Media courses prepare students in the music school for exactly this variety of projects. As your peers learn to become audio storytellers, on the Screenwriting courses you will be suppling the narrative and structure that defines those audio stories. In our creative production powerhouse, you'll learn within a curriculum that pushes for community and collaboration.

At Catalyst we'll provide you the tools and understanding you need to apply yourself to the multifaceted demands of writing for media industries. What better place to learn than a school in which you'll be within arms reach of up and coming visual effects specialists, broad minded musicians, film production students and actors ready to step onto the set.

We've come a long way since Mario first saved Princess Peach. In today's industry, it takes clever visual thinkers to come up with dialogue and scenarios that will keep gamers engaged for hours at a time. Thrilling action, adventure and interactive games can all be elevated from a fun way to spend time, to a classic that will live in the minds of those that played the game for years to come. Often that difference is crafted story.

Study Screenwriting at Catalyst - Ideate and deliver scripts that transcend

We’ll teach you how to become a screenwriter and career paths in screenwriting. Keep reading the Catalyst top 8 Screenwriting for Games Awards

Screenwriting for Games; Best Acting, Narrative, Script & More

Our top picks for writing excellence in the video game industry

We're still buzzing from this year's edition of Signals Festival, our annual showcase and gathering of creative communities from Catalyst and beyond. Here are some of the highlights from the event's live performances, installations, screenings, workshops and in-depth dialogue.

While annual events like the Catalyst Film Awards highlight student film and acting projects internally, films screened at Signals Festival sit within the larger community: alongside the industry’s rising stars, tutors and award winning teams. Screenings included the Catalyst Presents sessions, in which tutors and alumni submitted work that addressed the festival’s theme, such as Stephanie LeBolt’s dance film “Lady in White”, that put a feminist twist on a classic German fairytale or “Vaugahyde”, Adam Munning’s portal into the Berlin underground queer scene. Two independent festivals with international audiences - the Berlin Student Film Festival and LA Fashion Festival - both turned up with full programmes of prizewinning films from their festivals. A Signals Festival first this year was the addition of performing arts to the roster - Shanice Trustfull‘s live monologue Digital Flora unfolded the growth of social disconnection caused by the increased use of social media.

"The audience was both curious in the process and engaged in the message of the film" 

A key moment from the screenings was the Portuguese feature length film HARD PAINT by Filipe Matzembacher and Marcio Reolon. The intimate and erotic narrative of a cam boy’s online and offline personas was followed by a Q&A session with the writer/directors. The session brought light to the motivations and some challenges faced by them in producing this highly acclaimed film. “The audience was very present and were asking questions up to the last minute. They were both curious in the process and engaged in the message of the film. It was a delight to discuss the film like this”

Eight site-specific installations probed this year's theme from different angles. John Waldron used a pre-digital collection of artefacts to grieve the passing of a medium in “Gitti’s Wake” and drawing connections to human behaviour in pre-digital times. The festival chill-out zone was enhanced by Inphloxication and Bureau Klas Alman’s living sculpture that combined CGI and floral art. Meanwhile, on the first floor people queued throughout the festival to experience their body becoming a stage on which a concert is played in Nina Pixel and Ground Tactics’ Vibrational Hyper-Stimulations. 

Tamas Marquetant teamed up with Sebastian Dürer to present Haze Shifting - open ended and interactive, Haze Shifting was a meditative practice, a critical listening tool and a play with functions, roles and hierarchies within a studio environment. Full of contemporary references for an internet savvy audience, this installation captured the imagination of first year student Pedro Freitas, “I feel I’ve discovered new boundaries by seeing how creative the audio scene can be. Looking at [Haze Shifting], it’s like I have permission to just do crazy things and experiment with audio”.

Over both days, industry heads and recognised organisations hosted eight separate workshops. Covering a range of topics including; “Art of DJing” with Un:seen collective, “Sound for FMOD” with the creators of Harold Hailbut, and “Introduction to spatial sound” delivered by our Funkhaus neighbours Monom. We were glad to welcome back alumni Felipe Vareschi and Enyang Urbiks for sold out workshops, addressing workflows in field recordings [Vareschi] and mastering [Urbik]. “Most of all I enjoyed learning about the mindset and philosophy behind mastering. The workshop has helped me give words to concepts”, said Nilgün Gül, a music student and Signals team member who attended Enyang’s workshop. 

Another workshop that filled all the available spots was “Improvising Live with Lady Starlight”, in which live techno icon Lady Starlight returned to Catalyst to join alum Sarah Kivi to lead a live improvised jam session featuring a Theremini and Grandmother from Moog alongside a host of Elektron and Korg equipment. Also in the jam were Akkamiau, Peter Kirn, The Allegorist and Catalyst alum VIBKO. While there were many moments of note, watching the room of engaged musicians enjoying themselves made the workshop a very special experience.

The Allegorist turned up for more than just the session with Lady Starlight - the multidisciplinary artist also talked through her far reaching artistic vision during an open discussion into her creative process, hosted by Peter Kirn of CDM. A musician and visual artist with training in oil painting, the talk was essential listening for artists who move between disciplines. In the early afternoon on the following day, the floor opened to a panel discussion that put the festival’s theme at the centre of discussion. Over the course of the chat, Gozi, Portrait XO, Sam Madhu and moderator Caren Miesenberger talked about going viral, battling mental health issues within social media and much more. 

Ahead of her phenomenal “New Music Syntax (in testing)” live set, techno artist Kyoka had a deeply insightful conversation hosted by Beate Kunath. The talk was framed by Kunath’s documentary RAW CHICKS.BERLIN about womxn in electronic music, which came out seven years ago. Very fittingly, Kyoka spoke about how taking time to reflect was an essential part of her process. With the hindsight of the past years, Kyoka discussed how earlier in her career she worked more intuitively, following a rather emotional response to noise. Lately, however, she has taken steps towards rationalising the emotion, diving into neuroscience to support her creative endeavours. You can read part of the interview in Attack Magazine. 

Third year Creative Audio Production student JD Alvarado played many vital roles at the festival, including the technical support during the Kyoka dialogue. He said, “It was really amazing to see the research behind Kyokas's productions, but also the reasoning and the concepts behind them. Once you understand where it is coming from, you begin to perceive it differently, which makes her music more approachable. It’s not usually my style, but knowing the background allowed me to fully enjoy the performance later and has given me the drive to explore more of it.”

Listen back to extracts of recordings made at Signals Festival on reboot.fm! Podcast includes the talk between The Allegorist and Peter Kirn and the live jam session with Lady Starlight and friends.

Catalyst’s cavernous performance area - known on a school-day as ‘The Void’ - was the centre for live acts and DJ sets and as the October sun went down, the acts began. Across 17 wide-ranging and diverse performances the audience was invited into a new and at times deeply personal world - using the space to test an idea, finesse a skill or gauge a reaction. 

After setting the scene during her dialogue, saying how each piece of equipment for her live sets brings a different character, Kyoka wowed a full room with a set that travelled through different emotional states. With a strong feeling of empathy towards the audience, in her performance Kyoka reflected the overriding emotions of the listeners. A heartfelt thank you to Elektron who made this techno emotional joyride possible at Signals Festival. On the screen behind Kyoka, Catalyst Electronic Music Production and Performance alum Wei Kang Bei programmed live visuals that mimicked and danced with Kyoka’s eclectic sound. 

In stark contrast to Kyoka, who faced the audience and moved with them, in Dana Reason, AudeRrose and Renée T. Coulombe’s live and improvised scores to “Cinema’s First Nasty Women”, the focus of their performance was on the century old recordings projected on the wall. The trio’s performance temporarily transformed the dancefloor into a cinema with a strongly feminist stance. “I think it was a little different to other acts at the festival”, Renée said later with a wink.

On Friday night, wearing a boiler-suit and armed with a bass guitar, violin bow, strega and a host of other gear, Ireen Amnes stepped onto the stage drenched in red light. Anyone who has seen Ireen Amnes DJ would associate the red with a warning - industrial techno ahead. Signals Festival, however, was treated to an ambient live set. Yes, at times the red glow in The Void fed into an overall atmosphere of rising tensions, as Amnes stood in a powerful pose and pulled the violin bow across the bass or bounced from instrument to instrument, but using the strega for a process called “wave shaping” Ireen Amnes was able to manipulate and tame the audio into a set of ambient and highly experimental electronic music. Satisfied with the huge applause at the end of her performance, she later reported with a smile, “this is the first time I’ve used my bass in this way”.

At first, Sofi Paez’s performance seemed similar, as she used a classical instrument in an innovative way alongside live and cutting edge digital processing. But where Amnes bought an ambient drone founded on a training in prog-rock, Paez’s “contemporary classic” took festival attendees on a beautifully different journey. Student and team member Laura Lengua agreed, “Sofi’s performance was a highlight for me. I assisted Sofi in setting up her Ableton sessions in the weeks before the show - while doing that she explained her approach to the performance. This combination of live performances with pre-recording is not something I see often within neoclassical music. Seeing the full picture come together in her live performance was very inspiring.”

The expansion of this year's festival added many new faces to the Catalyst community; over 40% of the artists have not studied or taught at Catalyst. Many thanks to all performers who weren’t mentioned in this article, you can find the full programme and more detailed profiles of each artists submission here. As well as artists who participated - travelling in some cases from other countries for the event - there was a whole host of team members and without them the event wouldn’t have been possible. From transforming the space for all the festival guests and working essential roles throughout the weekend to preparing our halls and classrooms for lessons on Monday, many Catalyst students pitched in to make this event a success. For some, this was the first time seeing the kind of work that goes on behind the scenes of an arts and music festival, others took on organisational roles to develop their understanding. A big moment on the yearly calendar with over 1,000 people, Signals Festival was a highly social event. Nilgün Gül Özer said during the Saturday evening “More than anything I enjoyed meeting other students. Getting to know my peers has been a big plus - I’ve already set up studio sessions with some of them!”

Signals Festival 22 had a place for everyone. With support from Orchestral Tools, the event, along with the crafted worlds presented by the artists, were made accessible to attendees with modest incomes. Whether you were a Catalyst alum, returning to share some of your creative labour or an established artist adding your ideas to an audience  hungry for new perspectives. An enterprising student eager for events experience or a budding performer passionate for having their art experienced by others. Or simply a reveller hearing what magic is being cooked up at Catalyst.

Read all about our highlights from Signals Festival arts and technology festival

Signals Festival 22 broadened our horizons

Broadening horizons at Signals Festival 2022

During Fall 2021 Catalyst acquired a collection of Super8 equipment for specific workshops in the first year of Film Production. This includes a Super8 projector, Super8 cameras and some basic Super8 development equipment. We caught up with Juli Saragosa, Certificate Lead for Film Production, who talked us through some finer details of Super8 at Catalyst.

Super8 is motion recording technology which has now been superseded. At one time however, they were ubiquitous. So what is Super8? The “8” in Super8 refers to the width of the film. While the 8mm format has existed since the 1930s, and was much more affordable than its predecessor 16mm, the Super8 film was introduced in 1964. It was designed to remove barriers for everyday filmmakers. While 8mm film requires manual rolling, Super8 is packaged more conveniently. Increasing accessibility was an essential aspect of the Super8 product design. More often than not, software is designed to replicate physical realities. By engaging in the technology that defined these realities, makers can uncover new insights into their craft.

How wide is 8mm? see in the photo above, as some film students inspect their freshly developed film. One is holding it up to the light to see the recording better, another is using a magnifying glass to see their recording.

What do we stand to gain from engaging with analog film processes?

The fact that we can touch the film with our hands, and see the frames by holding it up to the light, gives students a deeper understanding of how moving images work - the concept of frames per second becomes material, less abstract. Digital editing can function much like online teaching. Everything is two-dimensional and disconnected from the body. Working with film is a tactile process that involves the whole body. The filmmaking process is alive and in person.

Can you tell us a bit about the history of analog video?

Filmmaking started out with celluloid material in the late 1800s. In the 1970s, analog video made filmmaking and video art much more accessible to lower income groups. Those who felt disenfranchised or oppressed were enabled to get their voice heard through a less cumbersome, more affordable medium. In the late 1990s, digital video took over the analog video practice and became even more accessible - finding wide use with smartphone technology. 

Working with celluloid film was - and still is - expensive compared to analog and digital video. 

So does Super8 use analog or celluloid film?

What people call “analog film” is technically not analog. Analog refers to “information represented by a continuously variable physical quantity such as spatial position.” Celluloid film does not have a continuous stream, there are frames and within those frames individual grains of silver halide (which is the magic of photosensitive image making). Analog video, on the other hand, does transmit and record a continuous electromagnetic stream to and from magnetic material.

Sounds like there is a whole world to explore. Where can I meet like minded people?

Filmmaking of all kinds exists all over the world. As digital video is more affordable and accessible, the use of celluloid material has become rarer and therefore even more expensive - both the material and the processing of it. Access to celluloid material is limited to areas of the world where hobbyists can afford it, and artists with DIY practices share skills and resources.

For instance, here in Berlin there is a collective of filmmakers called Labor Berlin that share resources in working with celluloid material - processing and re-printing their own film. There are numerous artist-run collectives such as this one. On this site you can see how they are spread throughout the world.

What do I need to record and develop Super8 films?

We have a couple of Super8 cameras and some hand-processing supplies in the Film Tech shop. Super8 camera models are not like digital cameras. They were invented for ease of use for hobbyists, those filming family vacations and home movies, so the cameras range from having very automatic to more manual functions. The brand does not always reveal anything about what the camera’s functions might be. The camera itself doesn’t tell you much about the quality of the images you will get. The lens, sometimes more, but it also depends on how well maintained the cameras are. They stopped making Super8 cameras in the 1990s. There is one that Kodak has released that is half-digital, but it’s not that popular amongst DIY artists. They use it in Hollywood as a gimmick.

Catalyst film tech shop is well equipped for experimenting with this media. We have a Bauer C Royal 6E, a Braun Nizo s560 and an Elmo 103T to make use of. We also have two film stocks to experiment with and during the induction, students will learn DIY film processing techniques as well as how to properly handle the necessary chemicals.

How has the experience of Project8 informed your teaching practice, given how the place of Super8 has changed radically since then (along with other celluloid film technology)?

In addition to teaching at media arts schools, I’ve given a few DIY filmmaking workshops at various community-run spaces before I started working at Catalyst. I also teach some workshops at the FilmArche eV, a self-organized film school here in Berlin. I try to approach all of my teaching without assumptions of what resources people have access to, and encourage people to tell stories that are underrepresented by the mainstream.

The expertise and approach that Juli adds to Catalyst adds directly to an idea we weave throughout Catalyst, building it from the ground up as a safe space to dream big. You can find more information about super8 on this expansive wiki, or nerd out on this super8 database hosted on filmkorn.org. To finish off this article, we’ve added a few projects Juli believes to be exemplary.

Photos by “Toronto Super8 legend” John Porter of “Splice This!” Super8 festival. Juli was commissioned by Splice This! on various occasions. 

"I feel that community spirit and fun we had in making it comes across in the film and for me, that's what Super8 filmmaking is all about."

The film Juli made for the 2005 festival is a silent remake of “The Outsiders” played by all women.

Foundational filming techniques on the Film Production course

Super8 at Catalyst

Super8 at Catalyst: analogue techniques in modern filmmaking with Juli Saragosa

Here’s everything you need to know for applying to the 2023/24 academic year:

“This year is going to be my year.” The last couple of years made it pretty hard to keep faith in that statement. Yet, if you ask some of our thriving current students, who plunged head-first into courses at Catalyst despite the uncertainty of the pandemic, they’ll tell you that next year can always be your year – if you make it happen. So allow us to add a huge opportunity to your horizon: 2023 applications are now open!

If you’re ready to kick-start your career in audio or music production, sound for media, filmmaking, screenwriting, visual effects, digital arts and animation, or screen acting, apply by our round one deadline of the 31 March, 2023, to secure your spot. Keep reading for more information.

[Header photo: Screen Acting Bachelor alumnus Daniel Straube by Aurélie Nydegger]

Now is the time to apply for Catalyst Berlin's 2023 course year. Here’s everything you need to know about the process.

Information About the 2023 Application Process

Catalyst artists Doron Sadja and Samaquias Lorta will be joining Berlin's Radio Symphony Orchestra for the first collaborative concert of the Mensch, Musik! series on October 7th. 

The first concert of the season, titled Grenzfragen: Eine Erkundung (Border Issues: An Exploration) will be led by conductor Tarmo Peltokoski, performing the work of composers who touched the boundaries of their respective times. It will feature our first two Catalyst creatives on the roster - Samaquias Lorta and Doron Sadja. Inviting artists to electronically, videographically and philosophically push the boundaries of classical performance practice, the orchestral event promises to cross the borders of symphonic music. Expect new and resolutely contemporary perspectives.

Mensch, Musik! #5 Border Issues – an Exploration

Catalyst alum Samaquias Lorta will be following Kagel’s pieces with four interludes throughout the evening, reinterpreting Kagel’s parody of authoritarianism in a contemporary setting. Lorta samples the sounds of social media, placing his analysis of authoritarian abuse of power and populist ideas firmly in the 21st century. The compositions will be varied; one looking at political leaders around the globe who promote divise rhetoric and racist ideas, the next commenting on social media as an unnerving link between refugees struggling to survive and detached privileged influencers. While one interlude might seek to break through the noise of border constructs, the closing interlude will give space in which to contemplate political divide. The most pertinent issue Lorta wants to address is the social, cultural and political divides that exist today bringing contemporary flavour to ideas which have been expressed musically much further back into the past, integrated with music from the past 200 years.

In the foyer of the legendary Haus des Rundfunks, artist, composer, instrument designer and Catalyst tutor Doron Sadja will be presenting "Silent Whispers". The centrepiece of Sadja’s kinetic sound installation at Mensch, Musik! is an extra-high stand with custom-built motorised ultrasonic speakers that emit a highly directional laser beam - potentially only one person at a time in the foyer will hear the sounds, words and phrases being broadcast. The central idea is that people can interpret the same information in radically different ways and have very different experiences. In this way, Sadja will explore the invisible boundaries between people.

Many composers featured on the programme are writing at a time of war, in response to dictators or migration. Much of Schostakowitsch’s work for example, was written under the pressures of government-imposed standards of Soviet art. Romanian-born Greek-French Iannis Xenakis was an avant-garde composer whose ideas often crossed interdisciplinary borders. German-Argentinian composer Mauricio Kagel’s "10 Märsche, um den Sieg zu verfehlen” (10 marches to miss the victory) is a radio play that processes the typical rhetoric of a political demagogue. Segments will be played from the ten part score, which uses satire to take a highly critical stance of an anonymous dictator. 

Samaquias Lorta and Doron Sadja at RSB X Catalyst /// Mensch, Musik! on October 7, 2022

Now located in Haus des Rundfunks (Funk in German meaning radio), Berlin’s historic radio symphony orchestra and Catalyst share a little piece of history. During the GDR, the RSB moved from its early home in Haus des Rundfunks to the Nalepastrasse Funkhaus on the East side of Berlin - on the same site our school calls home. Since the fall of the Berlin Wall, the Haus des Rundfunks has been regenerated and the RSB returned to their original home. Fast-forward 30 years and the historic institutes have reconnected. Today we are exploring new ground by bridging old and new music practices.

The partnership between Catalyst and the RSB focuses on the role of technological interaction between established and contemporary art institutions. The goal is to develop new artworks, foster interdisciplinary collaborations, and bring life to music educational advancements. The partnership includes the projects HyperSynth:Orchestra and Mensch, Musik! which roll out over the 2022/23 season.

Catalyst at Mensch, Musik! First concert with Samaquias Lorta and Doron Sadja

A guide for native and international students moving to Germany

Citizens of the EU, migrants and refugees can now apply for German state funding. Options for Dutch and Scandinavian residents are also available via the respective nations’ funding organisations. Here’s everything you need to know about applying for student grants and loans. 

Further opening up our institute to creatives of all backgrounds, eligible citizens of the European Union, migrants and refugees who live (or have the prospect of living) in Germany can now apply for student funding at Catalyst via BAföG. 

Support for residents of Sweden, Norway, Iceland and The Netherlands, via the nations’ respective funding organisations, is also available. 

Read on to find out all you need to know about funding options for BA and MA study at Catalyst. 

A word to the wise: we recommend that you submit your application to Catalyst by 31 March 2023 latest to allow yourself plenty of time to apply for funding or a visa.

1. Germany & EU citizens (non-EU citizens subject to prerequisites): BAföG

BAföG is a needs-based German state funding, granted if a student, their parent, or their spouse, do not have the financial means to pay for living expenses during their studies (tuition fees are not covered). Half of the financial support is usually a grant and the other half is an interest-free loan that needs to be repaid. Successful application of BAföG funding also allows you to apply for an exemption from paying Rundfunk­beitrag (radio tax). See a further breakdown of BAföG financial eligibility and potential funding options for students here. 

Funding options for EU and international students to study in Germany via BAföG, CSN, Lín, Lånekassen and DUO.