Dr Salome Voegelin
Title
Professor of Sound
College
London College of Communication
Email address
Tags
Researcher Research

Biography
Salomé Voegelin is an artist, writer and researcher engaged in listening as a socio-political practice of sound. Her work and writing deal with sound, the world sound makes: its aesthetic, social and political realities that are hidden by the persuasiveness of a visual point of view. She is the author of Listening to Noise and Silence, 2010, Sonic Possible Worlds, 2014, and The Political Possibility of Sound, 2018. All three books, published by Bloomsbury, develop a critical listening to sound art and the everyday acoustic environment via phenomenology and possible world theory, and articulate the social and political agency of sound. Together with Thomas Gardner she edited Colloquium: Sound Art – Music, ZeroBooks 2016. This volume of essays, texts, interviews and conversation explores the relationship between music and sound art, its current performance and historical language.Voegelin’s work brings the philosophy of sound to a participatory engagement: She co-convenes Points of Listening with Mark Peter Wright www.pointsoflistening.wordpress.com. This series of monthly events runs since 2014 and engages in collective listening and communal sound making. Her textual phonography blog www.soundwords.tumblr.com is the template for a participatory and public listening, writing and score making and has been practiced for example at Around Sound Art Hong Kong 2013, at Liquid Architecture Melbourne, 2014, Sound Reason IV Delhi 2016, for the Connecting Columns 1 - 10 March 2017 Srishti Outpost at Mill Hall - Collateral Venue, Kochi-Muziris Biennale, and most recently at Alberta University, Edmonton, Canada, 2018.
As an artist Voegelin works collaboratively with David Mollin, Mollin+Voegelin, in a practice that engages words, things and sound and focuses on invisible connections, transient behaviour and unseen rituals. Most recently two new installations were shown at La Tabacalera Gallery in Madrid, Spain as part of FASE 6 and currently they are working on a site specific Art and Architecture commission in Bern, Switzerland.
Voegelin is a Professor of Sound art the London College of Communication, University of the Arts London, UK. She is the PI of the AHRC (Arts and Humanities Research Council) funded project Listening across Disciplines, which seeks to establish listening as a reliable and legitimate methodology across the arts and humanities, science, social science and technology.
www.listeningacrossdisciplines.net
www.salomevoegelin.net
Grants and awards
(Figures indicate amount awarded to UAL)
- Arts and Humanities Research Council, Listening Across Disciplines II, £341,675.42, (2019-2022)
- Arts and Humanities Research Council, Listening across Disciplines
Research Outputs
Art/Design item
- Voegelin S, Mollin D. The Glad Circle (2017)
- Voegelin S, Mollin D, Ploner S, Perret N. They Own the Night (2017)
- Mollin D, Voegelin S. Factual Dispersion, Poetic Compression: LANGUAGES OF EXILE (2015)
- Voegelin S. The arrangement (2008)
- Voegelin S, Mollin D. The Barry Echo (2007)
- Voegelin S. Hobbies (2007)
- Voegelin S. Helidor (2005)
Article
- Voegelin S. Music as Public Art (2016)
- Voegelin S. Places Hardly Exist (2016)
- Mollin D, Voegelin S. During the Night the Crops will Still Grow (unless the player sleeps) (2016)
- Gardner T, Voegelin S. Editorial: Historical continuum, mimetic fissures (2015)
- Mollin D, Voegelin S. Writers’ habits (2015)
- Voegelin S. Reversed Anechoics (catalogue essay) (2015)
- Voegelin S. Collateral Damage (2014)
- Voegelin S. Forewords (2014)
- Voegelin S. Sonic Possible Worlds (2013)
- Voegelin S. Ethics of Listening (2012)
- Voegelin S. Epiphanies (2011)
- Voegelin S. The anxiety of the lonely listener (2007)
- Voegelin S. Sonic memory material as 'pathetic trigger' (2006)
- Voegelin S. ‘The Critical Agency of the ‘Avatar-I’: accessing the silence of the inaudible’
Book
- Voegelin S. The Political Possibility of Sound: Fragments of Listening (2018)
- Voegelin S, Gardner T. Colloquium: Sound Art - Music (2016)
- Voegelin S. Sonic Possible Worlds: Hearing the Continuum of Sound (2014)
- Voegelin S. Listening to noise and silence: toward a philosophy of sound art (2010)
Book Section
- Voegelin S. Sound Words and Sonic Fictions: Writing the Ephemeral (2016)
- Voegelin S. Klangkunst als Öffentliche Kunst (Sound Art as Public Art) (2015)
- Voegelin S. Soundwalking the Museum: A Sonic Journey through the Visual Display (2014)
- Voegelin S. Listening to the Stars (2013)
- Voegelin S. A short history of radio listening (2013)
- Voegelin S. No refrain: some thoughts on the duration of radio (2011)
- Voegelin S. Night Train (2008)
- Voegelin S. Völlig Losgelöst (2007)
Conference, Symposium or Workshop item
- Voegelin S. sonic materialism : sonic cosmopolitanism : raptures and responsibility (2019)
- Voegelin S. Unstable Contacts: a political imaginary made from water and honey (2019)
- Voegelin S. The Sonic Volume as a Sphere of Non-resilience (2019)
- Voegelin S, Barney A. Accessing Disciplinary Hinterlands through Listening (2018)
- Voegelin S. Disrupting the Dominant Song (2018)
- Voegelin S. Possibilité politique du sonores: le son comme volume indivisible (2018)
- Voegelin S. Sound Art as Public Art: performing the civic between listening and being audible. (2016)
- Voegelin S. Sonic Possible Words Performance Lecture (2016)
- Voegelin S. ‘Curating Volumes: hearing architecture, light and words’ (2016)
- Voegelin S. Morality of the invisible, ethics of the inaudible (2016)
- Voegelin S. Writing about the Sound of Unicorns (2016)
- Cascella D, Voegelin S. Ora: Multisensory Conflict (2015)
- Voegelin S. Inaudible Disaster Warnings (2015)
- Voegelin S. Sound Art as Public Art (2014)
- Voegelin S. Listening to the inaudible: The sound of unicorns (2014)
- Voegelin S. Warm words, fine words, deep words… (2014)
- Voegelin S. Writing as Phonography | Delhi Soundwords (2013)
- Voegelin S. Hearing the Continuum of Sound (2013)
- Voegelin S. Response to Public and Private Listening, Sonozones, at “Prekäre Landschaften” (2013)
- Voegelin S. Sound Words and Sonic Fictions (2013)
- Voegelin S. Listening to possible worlds (2011)
- Voegelin S. The place my listening makes (2011)
- Voegelin S, Herrington T, Montgomery W, Frosi H. We hear a new world: microphony technology and the rise of sound art (2010)
- Voegelin S, Jackson M, Burrows D. Listening in the present time (2010)
- Voegelin S. "The Aesthetic and Conceptual Digital as Artistic Strategy" (2001)
- Voegelin S. Digital listening
Other
- Voegelin S. ‘Listening to audible and inaudible sounds’(Performance Lecture) (2016)
- Voegelin S. Sound Art as Public Art (2015)
Performance
- Voegelin S. Listening to Indivisible Volumes (2019)
- Gardner T, Voegelin S, Mollin D. Practising the Relationship (2016)
- Voegelin S, Cascella D. Performing Silences (2015)
- Voegelin S, Cascella D. ora13: Listening and Writing: Sound Studies on the Radio (2014)
- Voegelin S, Toop D, Cascella D. Performance Lecture (2011)
Show/Exhibition
- Voegelin S, Mollin D. Aurality and Environment, Auralidad y Entorno, Exhibition at La Tabacalera Gallery in Madrid, Spain part of FASE 6. 30.11.17 – 02.02.18, with David Mollin (Mollin+Voegelin) and Brandon LaBelle. (2017)
- Mollin D, Voegelin S. Languages of Exile (2016)
- Mollin D, Voegelin S. Nietzsche, Cyclists and Mushrooms: Language in Contemporary Art (2015)
- Voegelin S, Mollin D. The Cyclist and the Mushroom (2014)
- Voegelin S, Mollin D. Drafts (2014)
- Voegelin S, Mollin D. Dustcatcher (2014)
- Voegelin S. Erlking (2012)
- Voegelin S. Sound art (2011)
- Voegelin S. Clickanywhere (2007)
Teaching
Current research students
- Farnaz Bradley, How Can Sound Art Interrogate Ambient Intelligence as a Possible Noise Pollution? (Lead supervisor)
- Katherine Carr, Sound as a means of re-imagining contested sites (Lead supervisor)
- Sunil Chandy, Drawing out the hidden pluralities in the ritual of the public reading of Christian Scripture through Sound Art Practice. (Lead supervisor)
- Iris Garrelfs, From inputs to outputs: an investigation of process in sound art practice. (Lead supervisor)
- Julie Groves, Physical Composition: Investigating the notion of the physical as a compositional tool by defining the term and its use through creative practice. (Lead supervisor)
- Mark Jackson, Nothing Short of Complete Liberation: The Burroughsian Ideal of Space as Curatorial Strategy in Audial Art. (Lead supervisor)
- Victoria Karlsson, Mapping Inner Sounds (Joint supervisor)
- Kevin Logan, How to (Re)Do Things with Sounds: Mediating the Sonic-Deed (Lead supervisor)
- Louise Marshall, Deep Listening: the strategic practice of female experimental composers post 1945. (Lead supervisor)
- Laura Plana Gracia, The Sonic Laboratory. What is it and how could it influence sound art? (Joint supervisor)
- Syma Tariq, Listening across History: India's partitions and colonial subjectivities within the oral archive (Joint supervisor)
- Mark Peter Wright, Contact Zones and Elsewhere Fields: The Poetics and Politics of Environmental Sound Arts. (Lead supervisor)