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Another Formula
Aengus Havinga is an interdisciplinary artist working across music, sound, film, and spatial contexts. His practice is driven by a sustained curiosity about how stories find their appropriate form, and how sound can support, shape, or subtly reframe the context in which those stories are experienced.
He studied composition, piano, and sound design at the University of Utrecht. This formal training provides a technical and conceptual foundation for his work, which he applies through a context-led and intuitive approach rather than a fixed stylistic method.
Havinga approaches sound as a situational medium rather than a standalone object. Each project begins with close attention to the existing conditions: narrative, space, emotional tone, and modes of listening. Composition is treated as a process of alignment, where sound is developed in response to its environment and function, allowing it to serve the work without dominating it.
His practice spans film scoring, performance, installation, and collaborative projects. Across these formats, intention is tested through experience rather than concept alone. Sound gains relevance through its capacity to inhabit a situation convincingly, responding to both artistic intent and audience perception.
Alongside commissioned and collaborative work, Havinga develops Evenbeing, an ongoing artistic research project focused on immersive sound, texture, and embodied listening. Functioning as a laboratory, this practice informs his applied work by refining sensitivity to atmosphere, presence, and spatial awareness.
Across disciplines, Havinga resists fixed definitions of authorship and genre. Labels are used pragmatically, while the work itself remains the primary site of meaning. His practice is oriented toward discovering where a work belongs, rather than asserting what it is.
Meaning?
To have Meaning?
To have Memory?
Having a memory of meaning?
Meaning of many?
What is it to have a purposeful memory of meaning?
Meaningful creation.
Plenty.
Of
What?
What is meaning?
What means something to you?
What does it mean to explore the meaning of meaningfulness?
Can it be meaningful and not at the same time?
Meaning
Mean.
In the first degree of meaning.
Being a part of a relation, or observing the relation, is to be meaningful.
Understanding that one does not need to understand.
Seeing that one cannot see the layers of skin that time can weave over itself.
Within the second degree of purpose.
Can one be purposeful without knowing its purpose? Does intent need to be the driving force?
The drive of chaos can be the certain framework that purpose can arise from. The front side of one’s purpose cannot be seen in the flesh; it also has a relation to the first degree of meaning.
To have purpose.
Does one need purpose to exist? To excite? To accelerate? Does one need one and the other?
Within the third degree of intent.
One’s intent can be like a revolving door around its centre.
What is intent? What can we intend to do? In order to have intent, one needs curiosity to see past the end. It is the driving force behind one and another’s relation to being completed. To lose curiosity, is to loose intent, to lose intent, is to lose purpose and to lose purpose we lose meaning. Grounded to the floor, intent needs to be connected to it’s purpose.
Moving curiosity + having intent + knowing purpose = established meaning.
example:
I am curious how I will feel after a nap + my intention is to find out by sleeping twenty five minutes + my purpose is to close my eyes = my meaning is to understand this process.
There for, my meaning in this present time is set.
Aengus Havinga is an interdisciplinary artist working across music, sound, film, and spatial contexts. His practice is driven by a sustained curiosity about how stories find their appropriate form, and how sound can support, shape, or subtly reframe the context in which those stories are experienced.
He studied composition, piano, and sound design at the University of Utrecht. This formal training provides a technical and conceptual foundation for his work, which he applies through a context-led and intuitive approach rather than a fixed stylistic method.
Havinga approaches sound as a situational medium rather than a standalone object. Each project begins with close attention to the existing conditions: narrative, space, emotional tone, and modes of listening. Composition is treated as a process of alignment, where sound is developed in response to its environment and function, allowing it to serve the work without dominating it.
His practice spans film scoring, performance, installation, and collaborative projects. Across these formats, intention is tested through experience rather than concept alone. Sound gains relevance through its capacity to inhabit a situation convincingly, responding to both artistic intent and audience perception.
Alongside commissioned and collaborative work, Havinga develops Evenbeing, an ongoing artistic research project focused on immersive sound, texture, and embodied listening. Functioning as a laboratory, this practice informs his applied work by refining sensitivity to atmosphere, presence, and spatial awareness.
Across disciplines, Havinga resists fixed definitions of authorship and genre. Labels are used pragmatically, while the work itself remains the primary site of meaning. His practice is oriented toward discovering where a work belongs, rather than asserting what it is.
Meaning?
To have Meaning?
To have Memory?
Having a memory of meaning?
Meaning of many?
What is it to have a purposeful memory of meaning?
Meaningful creation.
Plenty.
Of
What?
What is meaning?
What means something to you?
What does it mean to explore the meaning of meaningfulness?
Can it be meaningful and not at the same time?
Meaning
Mean.
In the first degree of meaning.
Being a part of a relation, or observing the relation, is to be meaningful.
Understanding that one does not need to understand.
Seeing that one cannot see the layers of skin that time can weave over itself.
Within the second degree of purpose.
Can one be purposeful without knowing its purpose? Does intent need to be the driving force?
The drive of chaos can be the certain framework that purpose can arise from. The front side of one’s purpose cannot be seen in the flesh; it also has a relation to the first degree of meaning.
To have purpose.
Does one need purpose to exist? To excite? To accelerate? Does one need one and the other?
Within the third degree of intent.
One’s intent can be like a revolving door around its centre.
What is intent? What can we intend to do? In order to have intent, one needs curiosity to see past the end. It is the driving force behind one and another’s relation to being completed. To lose curiosity, is to loose intent, to lose intent, is to lose purpose and to lose purpose we lose meaning. Grounded to the floor, intent needs to be connected to it’s purpose.
Moving curiosity + having intent + knowing purpose = established meaning.
example:
I am curious how I will feel after a nap + my intention is to find out by sleeping twenty five minutes + my purpose is to close my eyes = my meaning is to understand this process.
There for, my meaning in this present time is set.
statement of meaning