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Professor Cathy Lane

Professor of Sound Arts
London College of Communication
Email address
Researcher Research
Cathy  Lane


Cathy Lane is Professor of Sound Arts at University of the Arts London. She established the department of Sound Arts and Design at London College of Communication and now co - directs Creative Research in Sound Arts Practice (CRiSAP). She is currently using the Her Noise Archive as a catalyst for research into gender in sound arts practice. She has a PhD in electroacoustic music composition from City University, London.

I am interested in how sound relates to the past, our histories, our environment and our collective and individual memories. This informs my current work as a composer, sound artist, lecturer and researcher. Aspects of my creative practice have developed out of these interests and include composition and installation-based work with spoken word, field recordings and archive material. I also write and lecture on these and related subjects as well as collaborating with choreographers, film makers, visual artists and other musicians.

Books include Playing with Words: The Spoken Word in Artistic Practice (RGAP, 2008) and, with Angus Carlyle, In the Field (Uniformbooks, 2013), a collection of interviews with eighteen contemporary sound artists who use field recording in their work and On Listening (2013) a collection of commissioned essays about some of the ways in which listening is used in disciplines including anthropology, community activism, bioacoustics, conflict mediation and religious studies, music, ethnomusicology and field recording.

My CD The Hebrides Suite was released by Gruenrekorder in November 2013.

Grants and awards

(Figures indicate amount awarded to UAL)

  • Arts and Humanities Research Council, Creativeworks London, £3,939,587.00, (2012-2016)
  • European Culture Programme, Sounds of Europe, £17,239.24, (2011-2013)
  • Arts and Humanities Research Council (AHRC), Playing with Words: artistic practices with the spoken word, £15,772.00, (2009-2010)

Research Outputs

Art/Design item


Conference, Symposium or Workshop item




Current research students

  • Farnaz Bradley, New Ears for New Noise – How Can Sound Art Probe Signal Density as Pollution in Smart Cities (Joint supervisor)
  • Hannah Kemp-Welch, Politics of the Voice in Social Art Practice: Participation, Composition, Transmission (Lead supervisor)
  • Katherine MacBride, Empathic Listening/Radical Listening: learning from feminist and decolonial contemporary arts practices through artistic research. (Joint supervisor)
  • Hector MacInnes, A Distant Gate: Encountering Rural and Remote Futures Through Sonic Fiction (Lead supervisor)
  • Nicol Parkinson, Butler’s Wharf and the LMC: A sonic history of time-based art in London 1971-1988 (Lead supervisor)
  • Irene Anita Revell, Performing Womens Work: what constitutes a ‘feminist performance score’ and how does it extend our understandings of contemporary art practices? (Lead supervisor)
  • Syma Tariq, Partitioned listening: the role of silence and politics of voice in the making of the subcontinent (Lead supervisor)

Past research students

  • Jennifer Allen, Fog Tropes: A cultural and social history of the foghorn, 1853 to the present day. (Joint supervisor)
  • Iris Garrelfs, From inputs to outputs: an Investigation of Process in Sound Art Practice (Lead supervisor)
  • Jonathan Gilmurray, Ecology and Environmentalism in contemporary Sound Art (Lead supervisor)
  • Margaret Hall, Radio after Radio: Redefining radio art in the light of new media technology through expanded practice (Joint supervisor)
  • Victoria Karlsson, Mapping Experiences of Inner Sounds (Lead supervisor)
  • Louise Marshall, Deep Listening: the Strategic Compositional Practice of Female Experimental Composers post 1945 (Lead supervisor)
  • Matthew Parker, Vibrating the web: sonospheric studies of media infrastructure ecologies (Lead supervisor)
  • Matthew Parker, Composing Digital Materiality: A Sonic Archive Practice (Joint supervisor)
  • Daniel Scott, The listening Artist: How can Multiple Listening Strategies inform Contemporary Sound Art Practice (Lead supervisor)
  • Tansy Spinks, Associating Places: Strategies for Live, Site Specific, Sound Art Performance. (Joint supervisor)
  • Jonathan Milo Taylor, Immersion: A dynamic digital environment for creative interaction with archival sound art material. (Lead supervisor)
  • Mark Peter Wright, Contact Zones and Elsewhere Fields: The Poetics and Politics of Environmental Sound Arts. (Lead supervisor)