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Staff Profile

Dr Jorge Boehringer

Research Associate: Sonic Intangibles(UKRI)

Background

Jorge Boehringer is a composer, artist, and writer who explores texture and time, creating sonic ecosystems from natural forms and processes. My research concerns how pattern, structure, and meaning are co-produced by embodied listeners situated in environmental circumstances. I create spatial sound installations, and compose experimental performance works for ensembles as well as for myself as solo performer.


Boehringer is presently research associate at Newcastle University, UK, within Sonic Intangibles, a UKRI-funded research initiative investigating interdisciplinary working methodologies for rendering intangible data accessible through sound. Previously, Boehringer was a research associate in Sonification Design and Aesthetics for Project Radical: a New Interdisciplinary Space for Sonification, a Leverhulme-funded research effort. He has also served as a Research Fellow in Fine Art at Northumbria University, an Associate Lecturer in Music at Newcastle University, and a Research Fellow for Spaeslab in Berlin.


Boehringer studied composition at the Centre for Contemporary Music (CCM) at Mills College, Oakland, California, with Pauline Oliveros, Fred Frith, and Alvin Curran, and in workshops with Allan Kaprow, Paul DeMarinis, Maryanne Amacher, and Gordon Mumma. He received a PhD from the Centre for Research in New Music (CeReNeM) at the University of Huddersfield where he worked with Bryn Harrison and Peter Ablinger.


more details and recorded sound works can be found at the links to follow:

www.jorgeboehringer.com

https://multiplesystemsofevents.wordpress.com

https://coreofthecoalman.bandcamp.com/

https://ongrowthandform.bandcamp.com/releases

Research

Jorge Boehringer is Research Associate for Sonification Design and Aesthetics for Project RADICAL, a Leverhulme-funded interdisciplinary investigation of sonification listening and design that is split between Northumbria and Newcastle Universities.

Boehringer's research is manifested in his artistic practice, which has an international presence.  He has recently presented work at the Exploratorium Museum in San Francisco, California, and at Stanford University, as well as throughout the UK, Ireland, and France.

Boehringer has written and lectured on the intersection of artistic practice and everyday life, as experienced through the work of experimental artists and composers.  He is a keen student of philosophy and particularly of phenomenology, and has applied unique interpretations and insights from this field, and particularly from the work of Maurice Merleau-Ponty, to the creation of new artworks.  He also wrote a series of articles for a Czech music journal examining foundational Sound Arts practices from a hybrid phenomenological perspective.

A keen student of prehistory, Boehringer has presented Applied Archeological work within the field of Archeo-acoustics. This work involved sculptural re-creation of iconic examples of rock art in what is now West Yorkshire, and a practical analysis of the process involved and results obtained in light of contemporary artistic practices, and cultural phenomena such as autonomous sensory meridian response (ASMR).

Boehringer has also written critical papers around the nature and economics of artistic practice.

Teaching

While his work at the Newcastle University presently consists of research, Boehringer is keen to work with students again soon.  He views his work as an educator as fundamental to his own curiosity-driven artistic practice and considers the development and delivery of learning to play a grounding role within his research work.

Boehringer has served as a module leader for a Studio Production BA course in Prague, Czech Republic.  He has worked extensively in the liminal zone of interdisciplinary education between contemporary visual arts, musical, and interactive arts practices.  In this capacity he has taught Composition, Live Electronic Music, Sound Spatialization, Audio-Visual Composition, Sound Production, Interaction and Interface Design, Idea Generation, Art History, Experimental and Interactive Media courses, English, and even a class in Adobe Photoshop. 

Recently he taught in both the School of Music, Humanities, and Media as well as that of Computing and Engineering at the University of Huddersfield.  At Huddersfield he taught on Computer Composition, Desktop Music Production, Composition Practice, Recording, and Sound Spatialization modules.  He also served as supervisor for many undergraduate student Final Year Projects.

Boehringer's teaching philosophy concerns the development of inclusive strategies for curiosity-led learning in which learners themselves participate as much as possible in the development of the learning methodologies employed.  Boehringer's favourite teaching environment is one in which students can share in lecture-delivery, and workshops and atelier presentations, as well as public events, can create practical platforms for experimentation with and discussion about techniques and concepts studied.

Publications

  • Articles

    • Boehringer, J. SITUATING NORTHS: CRITICAL THINKING FROM CRITICAL LISTENING IN DATA-DERIVED SOUND ARTS PRACTICE. The 30th International Conference on Auditory Display (ICAD 2025) 2026, The 30th International Conference on Auditory Display (ICAD 2025).
    • Boehringer J. Norths: Navigating Instability By Ear. ArteActa – Journal for Performing Arts and Artistic Research 2026, 14. ArteActa 14/2025.
    • Boehringer, J. Listening Into the Lattice. HUB- Journal of Research in Art, Design and Society 2024.
    • Boehringer, J. Twice Stepped in Still Waters: Sonification and Interdisciplinarity as Artistic Research. Proceedings of the 28th International Conference on Auditory Display (ICAD2023) 2023, Proceedings of the 28th International Conference on Auditory Display (ICAD2023).
    • Boehringer, J. Dog Barks at Own Echo. Echo, Journal of Music, Thought and Technology 4. Orpheus Instituut 2026, 2736-5824.
    • Boehringer J. Situated Sound and Compositional Circumstance in My Recent Musical Practices. 2019.

  • Digital or Visual Media

  • Musical Composition

  • Online Publication