Salomé Voegelin ist eine Autorin und Klangforscherin, die sich mit dem Zuhören als kulturelle und gesellschaftspolitische Praxis beschäftigt. Ihre Arbeiten und Texte befassen sich mit dem Klang und den Welten die dieser Klang hörbar macht: die ästhetischen, sozialen und politischen Realitäten, die durch die Eindringlichkeit einer visuellen Sichtweise verborgen sind, die aber in der relationalen und unsichtbaren Materialität des Klanges neu zur Geltung kommen. Sie schreibt Essays, Bücher und Textpartituren für Performance und Publikation. Ihr jüngstes Buch „The Political Possibility of Sound“, Bloomsbury 2018, artikuliert eine Politik, die Kreativität umfasst und sich durch Klang, Transformation und Zusammenarbeit als Grundlage unseres Zusammenlebens vorstellt.

Voegelins Praxis befasst sich mit partizipativen, kollektiven und kommunalen Ansätzen. Sie hebt kuratorische Konventionen durch Performance auf und organisiert mit Mark Peter Wright den interdisziplinäre Hör- und Klangevent Points of Listening.

Seit 2008 arbeitet sie collaborative mit David Mollin (Mollin + Voegelin) in einer Praxis, die gesellschaftspolitische, architektonische und ästhetische Aktualitäten und Orte durch die Möglichkeiten von Klang, Dingen, Stimmen und Texten neu reflektiert und präsentiert.

Als Forscherin arbeitet sie in den klanglichen Wissenschaften. Sie wendet sich der unsichtbaren und mobilen Dimension der Kunst und des Alltags zu, um neue Erkenntnisse zu gewinnen, und um neue Fragen formulieren und neue Antworten auf drängende Probleme der Ökologie, Gesundheit, Bildung und soziale Ausgrenzung liefern zu können. www.salomevoegelin.net

Sie ist die PI (Principle Investigator) des Forschungsprojekts Listening across Disciplines II.

Salomé Voegelin is an a writer and researcher engaged in listening as a cultural and socio-political practice. Her work and writing deal with sound and the worlds that sound makes: the aesthetic, social and political realities that are hidden by the persuasiveness of a visual point of view, but gain a new possibility in sound. She writes essays, books and text-scores for performance and publication. Her latest book ‘The Political Possibility of Sound’, Bloomsbury 2018, articulates a politics that includes creativity and invention and imagines transformation and collaboration as the basis of our living together.

Voegelin’s practice engages in participatory, collective and communal approaches. She uncurates curatorial conventions through performance and convenes, with Mark Peter Wright, the regular cross-disciplinary listening and sound making event Points of Listening. Since 2008 she collaborates with David Mollin (Mollin+Voegelin) in a practice that reconsiders socio-political, architectural and aesthetic actualities and sites through the possibilities of sound, things, voices and texts.

As a researcher she works at the forefront of the new knowledge economy established by sound studies and sound art, turning to the invisible and mobile dimension of art and the everyday to achieve new insights that can formulate new questions and deliver novel answers to pressing issues in ecology, health, education and in relation to social exclusion. www.salomevoegelin.net

She is the PI (Principle Investigator) of the research project Listening across Disciplines II.


SALOMÉ VOEGELIN  www.salomevoegelin.net, www.listeningacrossdisciplines.net, www.soundwords.tumblr.com, @soundwords_sv


PhD Supervision Qualification, University of the Arts London (UAL), UK

PgCert HE (University Teaching Qualification), Middlesex University, UK

1999 - 2004   
PhD Department of Visual Arts, Goldsmiths, University of London, UK, funded by Arts and Humanities Research Council (AHRC), UK & Zumstegg Stiftung, CH

1993 - 1997    
BA (hons), first class, Fine art Film and Video, Central Saint Martins College of Art and Design, UK


Since 2020    
Representing the Professorship Klang in den Kunstwissenschaften at Braunschweig University of Fine Arts, Germany.

Since 2019         
Professor of Sound, PI (Principle Investigator) Listening across DisciplinesII www.listeningacrossdisciplines.net, and since 2022 PI Sounding Knowledge Network, London College of Communication, UAL

2012 - 2019          
Reader in Sound Arts at the London College of Communication, UAL

2008 - 2015         
Senior Lecturer, Course Leader MA Sound Arts, LCC, UAL

2006 - 2008         
Senior Lecturer BA Sound Art and Design, year two leader, at LCC, UAL

2001 - 2007          
Lecturer BA/BSc Sonic Arts, Lansdown Centre for Electronic Arts, Middlesex University, UK

University of the Arts London, UK: 9 current PhD students, and 5 PhD completions; supervision of 2 current post-docs and 2 past visiting fellows; 15 MA Projects per year as MA Course Leader, (2008-2015).

2021/22 HBK, DE: supervision of 2 Masters and 4 Bachelor Arbeiten Kunstwissenschaften

2021/22 supervisor of Choreography Master’s Student at The Place, London

2020 - 2022 supervisor for 4 Masters and one Meisterschülerin Gutenberg University Mainz.

2017 Mentor and Member of PhD committee at Royal Academy of Arts and Université Libre, Bruxelles, Belgium

2020/21 MA Student mentor Rhythmic Music Conservatoire, Copenhagen, DK

2019 - 2021 Advanced Studies mentor at University of the Arts Zürich, CH

2017 External adviser for PhD at Umeå and Göteborg University, Sweden


2022 - 2023 AHRC (Arts and Humanities Research Council) UK Network Research Grant, Sounding Knowledge Network

2019 - 2022  Standard Research Grant, PI, Listening across DisciplinesII, Arts and Humanities Research Council (AHRC), standard grant

2020 Visiting IAS Sound Fellow at Loughborough University, UK

2019 Erasmus + research visit to Bergen Academy of Art and Design

2019 Swiss Mobility research visit to Zürich University of the Arts (ZhdK), Zürich, CH

2018 Art Residency, Liminaria, Guardia Sanframondi, Italy 16.07-22.07.18

2018 Internationalisation Grant from UAL for research visit to Musrara School of Art and Society in Jerusalem, Israel

2018 Scholarly Residency, 10 Days, in Sound Studies Institute (SSI) University of Alberta, Edmonton, Canada (travel, accommodation, subsistence University of Alberta)

2017 Project Research Grant for Knowledge after Austerity and Brexit

2016 Curriculum Development Award for Listening as Method for Creative and Inclusive Curricula, with Ximena Alarcon

2016 Art and Architecture Award for a sonic technological infrastructure and art-educational interventions for the new rebuild of a primary school in Bern, CH, ongoing until 2027

2015 - 2016 Network Research Grant, PI, Listening across DisciplinesI, AHRC

Aktivitäten, Vorträge, Performances, künstl. Publikationen


co-chair with Dr. Mark Peter Wright (UAL) of “Points of Listening”, ongoing series of monthly events and performances www.pointsoflistening.net (partially on hold due to COVID) co-hosted with the Centre for Creative Research into Sound Arts Practice (CRiSAP)

co-chair with Prof. Nicole Furlonge (Columbia University, US) of ‘Sonic Pedagogy’ study Days, three international online meetings 15 participants each

co-chair with Prof. Rebecca Bramall (UAL) of Knowledge after Austerity and Brexit, 2 events, 23.02. + 02.03.2017, each 4 speakers and c. 50 attendees. Broadcast in two instalments on Resonance FM

co-chair with Dr. Thomas Gardner (UAL) and Prof. Allen S. Weiss (NYU) colloquium ‘Sound Art - Music’ 40 participating audience. Proceedings published with ZeroBooks, UK, 2016

REVIEWING ACTIVITIES (selected advisory roles, peer review, judging panels)

Advisory roles: Scientific Adviser, ARS – CUPRAS a research project located between the arts and the sciences, Gutenberg University Mainz, since 2020; Consultant in working group for practice-based PhDs in the arts, Radcliff Institute for Advanced Studies, Harvard University, 2020.

Peer-reviewer: European Research Council (ERC) COG applications 2019 and 2020; Fellowships & Awards, Austrian Academy of Sciences 2020; Swiss National Science Foundation (SNSF) 2015, 2018, 2019 and 2020; Tenure-Track promotion, University of Tel Aviv, Israel, 2019; Austrian Science Fund (FWF) 2018; Tenure-Track promotion, University of Toronto Scarborough, ON, Canada 2018; Estonian Research Council, 2017; Tenure-Track promotion, Western University 
London, ON, Canada, 2017; Early Career Fellowship AHRC, 2016; Post-doc funding research foundation of Flanders, NL, 2015; Wellcome Trust, 2013.

Judging panels: Arts Foundation jury UK, 2020; Jury Program Braunschweig Projects, Germany, 2019, 2020, 2021; BASCA judging panel for the BBC Sonic Arts Award 2014; Judging Panel for International Computer Music Conference (ICMC) 2011 and 2012.


Course Examiner: BA Music and Music Production, Rhythmic Music Conservatory, Copenhagen 2021

PhD examiner: History of Art, University of Toronto, Canada, 2020; School of Creative Industries, University of South Australia, 2019; University of Leiden, The Netherlands, 2019; Huddersfield University, UK, 2017; University of Central Lancaster, UK, 2016; the University of Canberra, Sidney, Australia, 2015; the University of Sidney, Australia, 2014; SARC, Queens University Belfast, 2013; Chelsea College of Art, UAL, 2011.

MRes/MPhil and confirmation examiner: Chelsea College of Art, UAL 2013/ 2015 and 2018, de Montfort University, Leicester, 2014; London College of Communication, UAL, 2014; Centre of Excellence in Biological Arts, University of Western Australia, 2011.


Member Research Network Beyond the Visual: Non-Sighted Modes of Beholding Art (AHRC)

2020 -        
Member of Health Arts and Design Research Hub UAL (HEARD), UAL

2019 -         
Member of TECHNE peer review college (AHRC post-graduate funding)

2018 -         
Member of the AHRC peer review college (PRC UK research council)

2009 -        
Founding Member of the Centre for Creative Research into Sound Arts Practice (CRiSAP)


Reviewer Open Philosophy 2021; Manuscript Reviewer Punctum Books, 2021; Reviewer Journal for Arts Research (JAR), 2020; Peer-review Leonardo Music Journal , MIT Press, 2017; Manuscript reviewer Goldsmiths University Press, 2016; Peer-review RS•SI Recherches sémiotiques, 2016; Peer review Interference, 2015; Bloomsbury reviewer of book and journal proposals, 2013, 2014 and 2015, 2021; Manuscript reviewer for Oxford University Press, 2011; Peer review Organised Sound, Cambridge University Press, 2011 and 2013.

2017 - 2019     
Member editorial board Arts (ISSN 2076-0752) international, peer-reviewed, open access

2015 -                
Member of the editorial board Journal of Sonic Studies JSS (ISSN: 2212–6252)

2014 -                  
Member of the editorial advisory board of a series of mediaphilosophical books, Bloomsbury


  • Sound Art and Notation, group exhibition, Errant Sound, Berlin 10.04. - 20.04.2022
  • ‘And it Tastes like Hair’ sound installation, in collaboration with Lisa Hall, part of Translating Ambience at Yarra Sculpture Gallery, Melbourne, curator Jordan Lacey, documented in Unlikely Journal for creative arts, Australia. catalogue: http://translating-ambiance.com/ the work continued as a performance as part of the Coventry Biennale 04.11.2021
  • sound it IIIIIIIIII 10, in Dears Magazine for transversal writing practices, issue no, Fall 2021 re.sonate
  • ‘uncurating sound’, at être à l’écoute : symposium son, a EDHEA école de design et haute école d’art du Valais, Suisse, 02.10.2021
  • ‘Closed spaces and open fields: words against enclosures’, catalogue and wall texts for Dystopia Festival Istanbul, with David Mollin, curators Selçuk Artut and Jeremy Woodruff 09.03. - 15.06.2021
  • untitled #346, a composition/text publication with Francisco Lopéz curated by Versalis Collectiv, Krisis Publishing, 2020
  • Curatorial online performance Silence/d, at Lydgalleriet, Bergen, Norway, 14.11.2020
  • ‘Stars’, curatorial radio performance for Listening to the Universe - Radiophonien des Alls, Datcha Radio, Berlin, 11.08.2020
  • ‘Vampiric Silences’ in Silence, Speakerspeakers No 3, Gentian Rhosa Meikleham eds, UK: Book Printing, 2020
  • Silence/d, curatorial performance at University of Köln, Germany, 17.01.2020
  • ‘Weaving Nets from the Activities on the Margins’, curatorial performance at Topographies of Sound at Škuc Gallery, Ljubljana, 16. - 20.09.2019
  • ‘Making Sound Curating Volumes’ curatorial performance at GUSAC – Gutenberg Sound Art Academy 23. - 25.08.2019, Mainz, Germany (publication in process)
  • Keynote as curatorial performance, ‘Sonic Materialism’, at RE:SOUND, the 8th International Conference on the Histories of Media Arts, 20. - 23.08.2019, Aalborg, Denmark
  • Sound installation with David Mollin (Voegelin+Mollin) part of The Manifesto of Rural Futurism, Bogong Centre for Sound Culture, Melbourne, Australia 26.07. - 11.10.2019, curated by Daniela d’Artielli, Leandro Pisano and Philip Samartzis
  • Listening @ SAY AAAAAAHHHHHH, MFA Goldsmiths curated event The Old Operating Theatre Museum and Herb Garrett, London, 08.05.2019
  • ‘Unstable Contacts: a political imaginary made from water and honey’ Curatorial Performance at Oscillation Festival, Q0-2 Bruxelles, 26./27.04.2019
  • ‘Listening to Indivisible Volumes’, curatorial performance at Jaunas Muzika, Vilnius, Lithuania, 23.04.2019
  • ‘The Sonic Volume as a Sphere of Non-resilience’, curatorial performance at CTM Festival for Adventurous Music and Art 2019, 25 Jan. to 3rd February, Berlin, Germany, includes publication of essay in festival journal Resistance (title: The Radical Elasticity of Sound)
  • Text Scores in Excercises in Listening #4, December 2018, Zine edited by Richard Francis
  • ‘A Cartography of Knuckles and Fingertips’ Sound work, in collaboration with David Mollin at Interferenze collateral event of Manifesta 12, Palermo, Italy, November 2018
  • Artistic Residency and performance part of Liminaria, in Guardia Sanframondi, Italy 16.07. - 22.07.2018
  • ‘Singing a Liminal Geography’ Liminaria, in Guardia Sanframondi, Italy 16.07. - 22.07.2018
  • Curatorial Performance Possibilité politique du sonores: le son comme volume indivisible, Theatre Gaîté Lyrique Paris, France, 14.06.2018
  • Performance with David Mollin and Jan Schacher 30. May at OOR Zürich, 30.05.2019
  • Curatorial Performance, Performing Fragments of Political Possibility, as part of DNK-days, 27.05.2018, Theatre Perdu, Amsterdam, the Netherlands
  • Score, Performing Political Impossibilities, mumei SIX ed. Heather Frasch and Ryoko Akama, released on 24th March 2018
  • Performance, Sounds and Possibilities, at Gabriola Poetry Society, Gabriola, Vancouver Island Canada, 11.02.2018
  • Curatorial Performance, ‘Listening beyond Sonic Possible Worlds’, Westernfront, Vancouver, Canada, 10.02.2018
  • Exhibition at La Tabacalera Gallery in Madrid, Spain part of FASE 6. 30.11.2017 -- 02.02.2018, Mollin+Voegelin and Brandon LaBelle. Includes section in bi-lingual book: Aurality and Environment, Auralidad y Entorno, Alex Arteaga and Rachel Rivera (eds), Ministry of Sports and Culture, Madrid, 2017


Single Authored Books

  • Forthcoming: Uncurating: Knowledge with Voice and Hands, Bloomsbury, NY, 2022
  • The Political Possibility of Sound: Fragments of Listening, Bloomsbury, NY, 2018
  • Sonic Possible Worlds: Hearing the Continuum of Sound, Bloomsbury, NY, 2014. Second and Revised Edition Jan 2021
  • Listening to Noise and Silence: Towards a Philosophy of Sound Arts, Continuum, NY, 2010

Journal articles, chapters, book sections, etc. since 2018

  • ‘Points of Listening: Reflections on the Collective, Communal and Participatory in Sonic Practice’ Listening & Polyphony, Polish Journal of Aesthetics, Ineta Kivle, Lenart Skof and Maja Bjelica eds 2022,with Mark Peter Wright
  • Chapter in ‘Sammelband’ Open Scriptures, Material Contemplations. The Art of Notation, ed. Barbara Ventarola, Iberoamericana/Vervuert, 2022. Proceedings from Keynote at International Symposium onMaterial Contemplations. Open Scriptures. International Colloquium on Notation. Contemporary Practices and Crossroads between Latin America and Europe, September 12. - 14.09.2018 at National University in Mexico City, UNAM
  • ‘Sonic testimonies: creating new imaginaries from the in-between’, in Many Voices, ed Hannes Schumacher, Freigeist Verlag, Berlin, 2022
  • ‘Singing Philosophy: deviating voices and rhythms without a time signature’, in Philosophy and Sonic Research, Open Philosophy Journal, Poland: De Gruyter, 2021
  • ‘Sonic Sense’, Keynote Chapter and theme editor for Oxford Handbook of Sound Art, John Matthew, David Prior and Jane Grant eds, Oxford University Press, 2021
  • Being-With: an experiment of a self-isolating/locked down body’ in unlikely Journal for Creative Arts, Issue 07: Following sonorous bodies, guest editors: Anastasia Khodyreva and Elina Suoyrjö https://unlikely.net.au/issue-07/being-with
  • ‘The Grain of Online Voices’, in norient, sonic vignettes, 28.04.2021 https://norient.com/salome-voegelin/grain-online-voices
  • ‘Uncurating Politics in the Gallery space: the Possibility of Resistance and the Performance of Alternatives’, New Literary Observer, «Неприкосновенный запас», Emergency Ration, 134, 2020, (Russian)
  • Introductory chapter to section ‘Flesh’ in the The Bloomsbury Handbook of the Anthropology of Sound, Holger Schulze ed., NY: Bloomsbury, 2020
  • ‘I see you listening’, catalogue text for ‘Audiosphere: Sound Experimentation 1980-2020, Reina Sofia Museum, Madrid, Spain, 14.10.2020 - 11.01.2021
  • ‘Talking about/possible impossible objects/the inaudible’ in Lydgalleriet Retrospective 2005 - 2020 Sissel Lillebostad ed., Lydgalleriet, Bergen, Norway, 2020
  • ‘Building an ephemeral place from the indivisible volume of words’ in Libretas Pabellón Eco/Eco Pavilion Booklets edited Andrea Ancira and Jorge Munguía, Buró-Buró Mexico and Museo Experimental Eco, Mexico City, 2020
  • ‘Sonic Methodologies of Sound’ in the Bloomsbury Handbook of Sonic Methodologies, Marcel Cobussen and Michael Bull eds, London and NY: Bloomsbury, 2020
  • ‘Listening out for the Ambiguity of Unreliable Things’, in Documenta: tijdschrift voor theater, 2020 #1, pp. 142 - 154
  • ‘My Skin of Rabbit Glue and Chalk’ in Writers in the Cinema, text commissioned by Tyneside Cinema, projections series, Newcastle upon Tyne, UK, 2020
  • ‘How does She Sound?’ essay for Sounds like Her book to travelling exhibition, curated by Christine Eyene for the New Art Exchange, 2019
  • Exhibition essay for I Hear You, Mikhail Karikis at De La Warr Pavilion, UK, 2019
  • ‘Composing a Sonic Cosmos’, catalogue essay for The Big Orchestra, exhibition of sound art at The Schirn Kunsthalle in Frankfurt, Germany, 2019
  • ‘Reflections on the Politics of Sentiment’, in Sensorial Aesthetics in Music Practices, Kathleen Coessens ed., Orpheus Institute book series, Ghent, Belgium, 2019
  • ‘Sonic Materialism: hearing the arche-sonic’ in Oxford Handbook of Sound and Imagination, Mark Grimshaw, Mads Walther-Hansen and Martin Knakkergaard eds, Oxford University Press, 2019
  • ‘Unstable Contacts’, essay in The Middle Matter, sound as interstice, Caroline Profanter, Henry Andersen and Julia Eckhardt eds. Umland: Bruxelles, 2019
  • Exhibition text for Khaled Kaddall, To the Nostrils of Time, Overgaden Gallery, Copenhagen, Denmark, 06.04. - 26.05.2019
  • ‘The Radical Elasticity of Sound’ for CTM Magazine, Berlin, January 2019
  • Text in Ljudkonst, (SoundArt) Åsa Stjerna and Andreas Engström eds, Kungl. Musikaliska akademiens skriftserie #140, Sweden, 2019 (Swedish)
  • ‘Technologies of Sound Art’ in The Routledge Companion to Sound Studies, Michael Bull ed., London: Routledge, 2019
  • ‘Writing Sonic Fictions: literature as a portal into the possibility of art research’ in Artistic Research and Literature, Corina Caduff and Tan Wälchli eds, Fink Verlag München, 2018
  • ‘Collaboration and Consensus in Listening’, co-authored with Anna Barney in international peer reviewed Leonardo music journal issue 28, December 2018
  • ‘LESSNESS: an unco-operative collaboration’ sleeve notes for Untitled #2 (the Mute) Jessica Sligter and Wilbert Bulsink, Unsounds Records, Germany, 2018
  • ‘Writing about the Sound of Unicorns’, chapter in Hilevaara, Katja and Emily Orley. eds. The Creative Critic: Writing As/About Practice. London and New York: Routledge, 2018