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Salomé Voegelin

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Salomé Voegelin is a writer, researcher, and practitioner, who works from the relational logic of sound to focus on the in-between and the liminal, where different disciplines meet in the contemporary crises of climate and public health, and where feminist, decolonial, and postanthropocentric demands can engender different and plural knowledge possibilities. She is engaged in the transversal and transdisciplinary potential of the sonic - to listen across disciplines and processes in order to develop a hybridisation of research where arts and humanities skills and methodologies can generate a contemporary response to climate, health and social emergencies.


She is the author of Listening to Noise and Silence (2010), Sonic Possible Worlds (2014/21), and The Political Possibility of Sound (2018). These books, as well as her numerous articles and papers, applied working and experimentation, develop a critical understanding of art and the environment as aesthetic, ecological and social, as well as economic and political milieus, whose relational reality and artistic fiction is made accessible through a “sonic thinking”, understood not as essentialist or an anti-visual mode of engagement, but as multi-sensory and response-able, making us “see” more, and appreciative also of what we might not see.

She is a well-respected scholar who is regularly invited to give keynote addresses and talks: e.g. at WHAT SOUNDS DO, UCPH Copenhagen, 2022, for I am not sitting in a room - urban, political and social resonances, Bauhaus University, 2022, as part of RE: Sound, Aalborg, 2019 and at UNAM, Mexico City, 2018.


As an artistic-researcher she works collaboratively and exhibits internationally projects that explore the aesthetics of the environment to make us hear its ecological, political and social possibilities:  e.g. for Sonic Topologies ETH Zürich, Switzerland with Magda Drozd 2022, at Translating Ambience with Lisa Hall, Melbourne, Australia 2019, with David Mollin as part of The Manifesto of Rural Futurism, Palermo 2018 and Melbourne 2019.


Her work between research, practice and education has led to invitations to teach and conduct workshops worldwide: e.g. Casino Luxembourg 2022, Harvard University, Radcliff Institute of Advanced Studies 2020, Doctoral School Ghent University 2019. 


Voegelin's participatory initiatives bring sound making and listening to a collective and practice-based engagement: her blog is the template for a public listening, performing and writing and has been practised internationally. Most recently to curate and produce a compilation album, ‘paint your lips while singing your favourite pop song’, launched 2022, with Flaming Pines and an exciting array of international artists (Siavash Amini, claire rousay, Rie Nakajima, AGF, Arturas Bumšteinas, Rebecca Lennon, Rhodri Davies and KMRU).


Between 2014-2022 she co-convened PoL, Points of Listening, with Mark Peter Wright. A monthly series of events which engaged communal listening and sound making in relation to current issues such as Hearing Diversity, Sonic Pedagogy, Care, Ecology, Gender and Technology. It is currently being regenerated, Post-COVID, and in the face of escalating political, social and climate crises, as a collective and applied design project: “Designing a Sonic Planet”, taking the invisible and relational as a starting point to bring together different expertise and knowledge of how we could re-design the world.


Voegelin is a Professor of Sound at the London College of Communication, University of the Arts London, UK. She also currently represents the Professorship Klangkunst in den Kunstwissenschaften at Braunschweig University of Fine Arts, Germany.

Image: performing Alison Knowles' Nivea Cream score in COVID-19, alone and with alcagel



She is the author of 3 influential books. Her publications articulate at the intersection between sound, politics, aesthetics, social responsibility and identity, and develop a critical listening to art, music and the everyday acoustic environment via phenomenology and possible world theory. 

Salomé Voegelin writes and talks about sound, about the world sound makes: its aesthetic, social and political realities that are hidden by the persuasiveness of a visual point of view.

She has published numerous articles, papers, chapters and essays that explore and expand the field of political and aesthetic thinking via a sonic sensibility. She is regularly invited to give talks, performance lectures and presentations that produce a live investigation of her ideas and pursue a novel take on current aesthetic and socio-political tendencies and imaginaries.

The themes and research of her texts and talks are focused on the marginal, the invisible and at times even the inaudible, to challenge normative thinking and develop new and innovative engagements at its boundaries. To agitate this marginality she also practices a textual phonography and writes text scores, soundwords, which serve as a template for a collaborative writing and a participatory engagement in how we listen and what/ who we hear.







Salomé Voegelin's artistic practice develops as plural threads which share a focus on the collective and the participatory, pursued through performative modes of working. A common interest to all her approaches is the aim to get a different view, to shift and reset registers of the real, to syncopate what we think we see and know.


Since 2008 she works collaboratively David Mollin, Mollin+Voegelin, in a practice that employs words, things and sound and exists as performances, installations, texts and sonic pieces.


She also engages in shorter term collaborative working and performing with different artist, (e.g. Kate Carr, Lisa Hall, Cath Clover, Jan Schacher, Daniela Cascella), and since 2014, she co-convenes with Mark Peter Wright, Points of Listening, a series of of workshops for practice and practice-based research, activities and discussions based in and around London.

Such a participatory working is also staged through her text score/phonographic writing blog soundwords, which presents the template for collective listening, writing, score making and sounding. Meanwhile her curatorial performances cross practice, curation and theory, to find in their juxtaposition and simultaneity a critical voice and experience of what we do and think.




Salomé Voegelin works with the relational logic of sound to develop new analytical and theoretical approaches to art and the environment. She is invested in aesthetics as an applied epistemology, and employs the necessarily inter- and cross-disciplinary nature of listening to query and expand existing knowledge pathways: to cross-reference different disciplines (e.g. art theory, musicology, literary studies, performance and urban study, social science and science); and to develop new methodologies that can contribute to traditional knowledge chains. 

Her research works with arts and humanities methods and skills to contribute their scope to pressing contemporary issues and their public discussion. She is interested re-visioning naturalised knowledge tropes through a focus on materiality and the sensorial, opening academic working towards the tacit, the embodied and the local and thus to plural knowledges.

She is regularly invited to give keynote addresses, and her link between research, practice and education has led to numerous invitations to teach and workshop worldwide.


Currently, Voegelin is the PI on an AHRC, UK research council, funded project Listening across Disciplines II (2019-2022), which continues the network award of the same name (2016-17). The project seeks to establish listening as broadly applicable and legitimate knowledge tool. She has raised more than three-quarters of a million pounds for research today, and is passionate to redraft the boundaries of knowledge via art and sound.

She is a a Professor of Sound at the London College of Communication, UAL, a founding member of CRiSAP, (centre for Creative Research into Sound Arts Practice), as well as an established PhD supervisor and mentor who is experienced and motivated to support and guide early career researchers across different artistic and theoretical fields.

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Image: performing Alison Knowles' Nivea Cream score in COVID-19, alone and with alcagel

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Image: performing Alison Knowles' Nivea Cream score in COVID-19, alone and with alcagel