Salomé Voegelin is an artist and writer engaged in listening and hearing as a socio-political practice of sound. She is the author of Listening to Noise and Silence: Towards a Philosophy of Sound Art, Continuum, NY, 2010, which has achieved national and international recognition for offering ‘a refreshing departure from the many surveys of sound art’ (Michael McCrea, Sound Art, June 2010) and for ‘making a powerful case for preserving the “immersive complexity” of auditory experience against a critical language, that […], is always guided by the imperatives of the visual’ (Montgomery, The Wire, August 2010). Other recent writings include a chapter in the The Multisensory Museum Cross-Disciplinary Perspectives on Touch, Sound, Smell, Memory, and Space, Alta Mira Press, 2014, ‘Ethics of Listening’ in the Journal of Sonic Studies, Vol. 2, 2012, and ‘Listening to the Stars’ in What Matters Now? (What Can't You Hear?) Noch Publishing, 2013. Her essay ‘Sonic Possible Worlds’, is part of the Sound Arts issue of Leonardo Music Journal December 2013, Vol. 23. Voegelin’s second book Sonic Possible Worlds: Hearing the Continuum of Sound, was published by Bloomsbury in June 2014. The book adapts and develops possible world theory in relation to sound to produce a meeting of the semantic and the phenomenological at the place of listening.
Voegelin is regularly invited to give keynotes and present her research, most recently she was invited to speak at Sonar+D in Barcelona, 10-12th June, 2014 and she presented as a keynote speaker at Invisible Places Sounding Cities, Viseu, Portugal, 18-20 July, 2014.
Voegelin’s work on listening and writing brings the philosophy of sound to a participatory engagement: her blog www.soundwords.tumblr.com is the template for a participatory public listening and writing and has been practised, for example as part of a residency at Around Sound Art festival and conference in Hong Kong January 24.- February 7 2013 (soundpocket.org.hk), at IN THE FIELD International Symposium for Field Recording at the British Library, 15/16.02.13, and most recently at Sound Reason in Delhi, November 2013. Her monthly radio show on Resonance FM, ora: voyages into listening and writing, (with Daniela Cascella) encourages a shared hearing and listening between sound and text (www.ora2013.wordpress.com) and her project Points of Listening, with Mark Peter Wright, www.pointsoflistening.wordpress.com), engages in collective and solitary listening across London.
Voegelin’s sound arts practice involves compositions produced by her self and in collaboration with David Mollin. Most recently her piece Erlking was included in SOUNDWORKS exhibition at ICA (Institute for Contemporary Arts) in London in 2012, and her piece Not Quite Sitting down for Six Minutes is presented as part of Wolf Notes 4, in October 2012 http://wolfnotes.wordpress.com/wolf-notes/, and her composition exactly 3 minutes is part of epiphany compilation by Sound Reason. While her solo work focuses on the small and slight, unseen performances and moments that almost fail to happen, her collaborative work has a more conceptual basis, establishing through words and sounds conversations and reconfigurations of relationships and realities. Voegelin and Mollin’s collaborative composition Barry Echo was produced for the Bregenz Kunstverein in Austria and is part of the ‘Playing with Words’ book and CD Compilation edited by Cathy Lane (http://www.gruenrekorder.de/?page_id=1885). Their work Ed Ruscha was presented as part of Sound Reason Festival in Delhi, their multi-channel composition Drafts, is currently exhibited at Artisphere in Washington, US, April-July 2014.
Voegelin is the curator of Clickanywhere, www.clickanywhere.crisap.org - an online exhibition of spoken and written work and more recently she has curated three evenings of sound art at the Swiss Church in London featuring work by David Toop, Mark Peter Wright, Thomas Gardner, Claudia Molitor and Nye Parry.
Voegelin is a Reader in Sound Arts at the London College of Communication, UAL. She is the course leader of the MA Sound Arts. She has a PhD from Goldsmiths College, London University.
Declares the relationship between sound art and music “colloquial”: spoken and accessible, rather than locked behind disciplinary boundaries.
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