Colloquium Sound & Sensory Studies

Holger Schulze
Colloquium Sound & Sensory Studies

trumps listening,

we are no good
at receiving.«

Michel Serres, The Five Senses (1985/2008), S. 139

Be it sound art-pieces, academic articles, blogposts or a PhD-treatment, an artistic research proposal: in this biweekly research colloquium we immerse ourselves in discussing new approaches to sound studies.

Part of the interdisciplinary Research Group Sound & Senses we invite all researchers, artists, students or listeners to take part and to propose topics and materials for our future meetings.

As a collaborative workshop this meeting provides an opportunity for researchers of all levels (experienced scholars as well as PhD-/MA-students or artistic researchers) to discuss their approaches from various interdisciplinary fields with a special sensibility concerning sound.


biweekly on Zoom



Sound Studies Lab

On Zoom


Department of Arts & Cultural Studies
Københavns Universitet
Karin Blixens Vej 1
2300 København


Cf. on website Sound in Media Culture



* Tuesday 13.2. kl.15:15-16:30CET:


Topic: WHAT SOUNDS DO – Online Launch Event with Listening Sessions & Conversations with Contributors
Presenters: Vita Zelenska, Emery Petchauer, Morten Poulsen, Francisco Mazza together with the co-editors Giada Dalla Bontà, Ania Mauruschat, Jenny Gräf Sheppard & Holger Schulze (KU)

Abstract: Recently, the #30 Special Issue of Seismograf was published under the title WHAT SOUNDS DO: New Directions in an Anthropology of Sound. This special issue merges Seismograf’s ongoing exploration of the format of the audio paper with the investigation into an anthropology of sound that mark the various projects conducted at the Sound Studies Lab at the University of Copenhagen.

We, the four editors of this special issue, wish to celebrate all of this great work now published with all of our contributors, our team at Seismograf and everyone who cares for sound, experimental sonic research, and the arts of presenting scholarly work! At this little launch event we will gather around our videoscreens and listen to excerpts of four selected audio papers and discuss with their producers and authors some of the issues, research approaches, and artistic practices that made them possible.


* Tuesday 27.2. kl.15:15-16:30CET:


Topic: Dramatised Performative Narrative: a novel method for composing electroacoustic music
Presenter: Dimitris Savva (Cyprus University of Technology)

Abstract: In this presentation, I will discuss the electroacoustic music composition method of dramatized-performative narrative that was developed during my doctoral research. The term “dramatized-performative narrative” was coined to specify a unique type of narrative that both originates from and guides the performative activities of others. Throughout the presentation, we will explore sound examples and compositions created during this research, demonstrating how the method was employed: (1) to predetermine dramatized performances using performance scores, (2) to sonically capture these performances employing various recording techniques, and (3) to use these recordings as central material for composing and structuring electroacoustic music works. Additionally, we will briefly examine key writings on narrative and referential sound in electroacoustic music, followed by a definition of the term “dramatized-performative narrative.” Finally, we will briefly discuss the aims, objectives, and conclusions of the research.

Information: You are advised to have headphones with you during the presentation so that you could listen to the binaural reductions of the original surround 8-channel compositions.


* Tuesday 12.3. kl.15:15-16:30CET:


Topic: Mediated ficto-critical approaches for listening to creative sound studies.
Presenter: Gail Priest (Sydney/Katoomba, Australia)

Abstract: Situated within the relatively young and fluid field of sonic studies, this presentation is concerned with the area of creative sonic experiences and how we write about them. I propose that discussion of this area can be well-served by expanding both the way in which this is theorised and the way this is published/distributed. It is based on an understanding of sound and listening that is correlational—an experiential unit I call sonaurality. I propose a tomographic approach to exploring sonaurality is particularly beneficial, one that allows for an inside-outside discussion of the experience. This position pushes against any remnants of traditional structures of objectivity, and critically distanced commentary. The tomographic approach allows for greater creative scope for the writer that can be developed through strategies of ficto-criticism whereby theory and creative textual experimentation are entwined nurturing a situated and reflexive understanding of the writer and reader. In a further disruption, I encourage mediated modes of publication and distribution. By using online platforms and their multi-media affordances, along with strategies drawn from digital literature we can allow for an embodied and emboldened interaction of the reader, and indeed, for sound studies to sound.

(Requires a password: sonaural)
Creative component of my PhD.

About the presenter:

* Tuesday 9.4. kl.15:15-16:30CET:


Topic: Teaching Sounds in India – Some Notes on Sound Pedagogy
Presenters: Shubhasree Bhattacharyya (Jindal Global University, Sonipat, Haryana, India)

Abstract: This presentation dwells on methods of doing artistic research on sounds within the higher education space of India with particular reference to a cross listed undergraduate level elective course titled “Writing Sounds: Research and Arts Practice in Sound and Listening.”

* Tuesday 23.4. kl.15:15-16:30CET:


Topic: Geopolitics of Music and Cultural Industries: Exploring the extent, impacts and potentials of financial investment in the arts and culture sector in the 21st century.
Presenter: Maria Rijo Lopes da Cunha (Copenhagen, DK)

Abstract: This presentation will introduce the core ideas at the heart of the upcoming one-day roundtable bringing together academics, cultural policy makers and artists entitled “Geopolitics of Music and Cultural Industries: Exploring the extent, impacts and potentials of financial investment in the arts and culture sector in the 21st century” (KUA). Namely, I will outline the need to examine the intersections between music and the arts, financial investment, and geopolitics, while highlighting the tangible and intangible benefits, dimensions, and potentials of investment in the arts and humanities sectors in societies across geopolitical spheres.

This discussion is grounded in two cornerstones of my academic research to date. First, my 2019-2022 postdoctoral research, which examined the transnational impacts and dynamics of cultural investment, production, consumption, and aesthetic change in the Middle Eastern region. Second, my recently published and co-edited anthology “Music, Soft Power and Cultural Diplomacy in the Middle East: Geopolitical Reconfigurations for the 21st Century” (Maria Rijo Lopes da Cunha, Jonathan H. Shannon, Virginia Danielson and Søren Møller Sørensen, eds.), published by Palgrave Macmillan in January 2024, laid the theoretical, aesthetic and conceptual groundwork that I intend to continue both in this upcoming event and in my forthcoming research.

This talk is an open invitation to fellow colleagues to participate in such a discussion.


* Tuesday 7.5. kl.15:15-16:30CET:


Topic: Using Voluntary Musical Imagery as an Intervention for Anxiety
Presenter: Michelle Ulor (London, UK)

Abstract: Anxiety is a common mental health problem that has been treated using various therapies. Imagery-based interventions involving deliberately imagining music is a method that has not been explored. Voluntary musical imagery’s (VMI) ability to reduce anxiety relates to VMI directing attention away from anxiety stimuli and towards the imagined music, and positively regulating emotions. This research aimed to investigate the effectiveness of a novel VMI intervention on anxiety and mood, addressing the research question of whether VMI is more effective at reducing anxiety and improving mood, compared to a verbal control task. To test this, 65 participants aged between 18 and 69 (Mdn = 23) completed VMI and verbal exercises over six days whilst reporting their anxiety and mood using an experience sampling method. The main findings were that VMI was associated with reductions in immediate anxiety (b = .29, p = .002) and increases in positive mood (b = -.55, p < .001). This study was the first to suggest that VMI can be used as an accessible, self-administered intervention to reduce anxiety and improve mood. This talk will thus focus on this study, including it's rationale and diving deeper into the findings, and provide an opportunity for the audience to contribute to their experience relating to musical imagery experiences, as well as using music for wellbeing. About the presenter: * Tuesday 21.5. kl.15:15-16:30CET: Link: Topic: Kemmuna Nation: Is Nature Political? Presenter: Mario Asef (sound artist, Berlin) Abstract: What would happen, if nature were a nation? Imagine all kinds of non-human entities uniting as a nation. All nations worldwide would have to recognise its legitimacy and respect its laws and rules. Isn’t it already happening? Today we are aware of a complex interconnected underground network of fungi and plants that covers 90% of the planet. This network daily exchanges nutrients and environmental information throughout a big range of species to keep their ecosystems balanced. If we could give this vast network a voice, what would it tell us? "Kemmuna Nation" explores the notion of a global nation consisting of non-human, self-organizing entities that create their own economic and political system based on specific, pre-existing, structural interconnections between species. Material: