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Dr Salome Voegelin

Title
Reader in Sound Arts
College
London College of Communication
Tags
Researcher Research
Salome  Voegelin

Biography

Salomé Voegelin is an artist and writer 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. Voegelin is the author of Listening to Noise and Silence: To-wards a Philosophy of Sound Art 2010, and Sonic Possible Worlds: Hearing the Continuum of Sound 2014, her third book in the series The Political Possibility of Sound, Fragments of Listening, will be published by Bloomsbury in November 2018. She co-edited, together with Thomas Gardner, Colloquium: Sound Art – Mu-sic, ZeroBooks 2016, as well as the concurrent special issue of Organised Sound: Issue 02, ‘Sound Art and Music, Historical Continuum and Mimetic Fissures’ - Au-gust 2015.
Voegelin’s work brings the philosophy of sound to a participatory engage-ment: 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 focusses 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 com-mission in Bern, Switzerland.
Voegelin is a reader in Sound Arts at the London College of Communica-tion, University of the Arts London. 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)

Research Outputs

Art/Design item

Book Section

Conference, Symposium or Workshop item

Performance

Show/Exhibition

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)
  • 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)
  • Mark Peter Wright, Contact Zones and Elsewhere Fields: The Poetics and Politics of Environmental Sound Arts. (Lead supervisor)