Universiteit Leiden

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Academy of Creative and Performing Arts (ACPA)

Sound Arguments 2024

Sound Arguments is an innovative laboratory-atelier for creative artists and researchers dealing with sound. Presented by the Orpheus Institute, Ghent (BE), and the Academy of Creative and Performing Arts, University of Leiden (NL), Sound Arguments transcends the boundaries of art school or conservatory, art space or university to propose a new kind of creating-researching-learning community. It reaches into the broad and complex space of current art-sound practices. At Sound Arguments, participants will share, invent, learn and discuss.

Our creative, imaginative relationship with sound has entered a fantastically rich period, facilitated and necessitated by cultural, social and technological evolutions. Sound acts as a new parameter in a world evolved from the practices and theory of the visual arts or as a highly sophisticated art form in music composition and improvisation. It acts as a dimension of the plastic, installation and interactive arts. It provides a perspective on place and time. It is a vital component of environmental art and a conveyor of information, e.g. through sonification. It emerges as algorithmic surface, as the trace of virtuoso improvised performance or of informal social behaviour. And it provides an interface with technology.

Each of these perspectives has its own discourse, practices, techniques, cultural infrastructure and institutions. Sound Arguments is a locus for this rich tapestry, a space that aims to bring together people interested and working with sound with diverse, and complementary, backgrounds. Through sustained cross-fertilisation, they will participate in the evolution of new common discourses and individual critical practices.

At each of five monthly, two to three day encounters you will meet and discuss with invited artists and experts, addressing issues from the abstract to the technical, from the social to the practical. Guest artists and scholars will act as catalysts for sharing and reflection between participants; you will acquire new techniques in workshops led by international experts, to stimulate and inform your practice. All participants will be able to share their own projects in a wide-ranging, critical and supportive environment. As a community, we will expand horizons, vision and practice – and together hopefully evolve new discourses on contemporary sound-based practices.

Topics include:

  • DIY radio, collective listening, feminist practice
  • Auditory environmental unaesthetics, sound ecology and politics
  • PCB aesthetics
  • Sonic pluralism, post-natural listening, aural co-domestication
  • Identity, voice, artificial intelligence
  • Computational listening, forms of deep listening
  • Talking & writing about sound

Guests for the series will include:

Shortwave Collective is an international group of 10 creative practitioners from various backgrounds and disciplines (sound and radio art, activism, social science, media and artistic research) brought together by an interest in feminist practices and the radio spectrum. As a collective, we have a desire to learn together and to open a space to learn together-with-others as equal non-experts. We spend time in each other’s company making, testing, listening and sharing; sometimes ‘failing’, but more often laughing our way into serendipitous results that lead us to new practices and new situated ways of listening. Part of our feminist ethos is ‘learning through doing’. This is a way to de-mystify aspects of technology, which enables us to share our experiences more easily with each other, and with others. The collective’s approach aims to create an inclusive, collaborative, tech-based learning environment, one which acknowledges and attends to gendered education gaps and one that purposefully removes potential hurdles, such as unexplained components lists that assume knowledge.


Alice Eldridge is an interdisciplinarian with an interest in how sound organises systems. Her research integrates ideas and methods from music, cognitive science and ecology to advance theory and methods in the emerging discipline of ecoacoustics, as well as to create experiential soundscapes and ecosystemic music.  Alice holds a BSc in Psychology, an MSc in Evolutionary and Adaptive Systems, and a PhD in Computer Science and AI. She is currently a Professor of Sonic Systems at the University of Sussex where she is joint director of the Sussex Digital Humanities Lab, co-director of the Experimental Music Technology Lab and a fellow of the Sussex Sustainability Research Programme


Zeynep Toraman is a composer and scholar from Istanbul, Turkey, living and working in Berlin, Germany. Her practice-based research explores the ways in which texts (in the broadest sense of this word) can interact with one another within the larger framework of musical compositions, by way of thinking of her own library as an archive, and enfolding autobiography, poetry, fiction and history within her works.

Past and recent collaborators include Lauren Cauley, ELISION Ensemble, Ensemble Linea, Quatuor Diotima, Distractfold Ensemble, Ensemble Adapter, Amie Weiss and Nicola Barbieri, Noam Bierstone, and the Wet Ink Ensemble. Her music has been performed at festivals such as Darmstadt Ferienkurse, Summer Academy Schloss Solitude, IRCAM ManiFeste and Wet Ink Large Ensemble Reading. Her research has been supported by the German Academic Exchange Service (DAAD).

Zeynep taught at the Institute for Electronic Music and Acoustics (IEM) at the University of University of Music and Performing Arts Graz and she completed her PhD in  Music Composition at Harvard University in 2023, where she studied with Chaya Czernowin, Hans Tutschku and John Hamilton.


Salomé Voegelin is a writer, researcher, and practitioner engaged in listening as a socio-political practice. She 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 realities can engender different and plural knowledge possibilities. She published numerous articles and papers, texts and text-scores for performance and publication, and is the author of Listening to Noise and Silence (2010), Sonic Possible Worlds (2014/21), and The Political Possibility of Sound  (2018). Her most recent publication Uncurating Sound: Knowledge with Voice and Hands, Bloomsbury 2023, moves curation through the double negative of not not to ‘uncuration’: untethering knowledge from the expectations of reference and a canonical frame, and reconsidering art as political not in its message or aim, but by the way it confronts the institution.

Voegelin’s practice engages in participatory, collective and communal approaches: since 2008 she collaborates with David Mollin (Mollin+Voegelin) in a practice that reconsiders socio-political, architectural and aesthetic actualities and sites from the blindspots of a leaky vision, and the possibilities of sound, things, voices and texts. 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 regenerated, Post-COVID, as a collective and applied design project: Designing a Sonic Planet, taking the invisible and relational as a starting point to employ musical and sonic competencies and knowledge to re-imagine the world. Voegelin is a Professor of Sound at the London College of Communication, University of the Arts London. She is the PI (Principle Investigator) of the UK research council funded project the Sounding Knowledge Network.



Gilles Aubry is active at the interface between sound and visual arts, experimental music and academic research. As an artist, he creates installations, films, performances and radio pieces exploring sonic materiality and listening processes in relation to affect, coloniality and power. As a researcher, he completed a PhD (2020) on sonic pluralism, embodiment and ecological voices in Morocco, engaging with aural histories and sound practices through artistic collaboration.


When I started to make electronic things I knew almost nothing about how they work, but with simple solutions, I managed to make usable instruments anyway. For instance, I used a speaker as a relay, where a transistor should have been used. Because of knowing little, I used my creativity in a none efficient way, I invented things that already existed. But I feel proud of these inventions, for instance, the Relay the Vactrol and the Phase Locked Loop. Nowadays I know much more about electronics, but I still want to work the same way as when I started.



Sound Arguments will meet monthly from February – June 2024. Meetings will be held alternately in Ghent and The Hague. Sessions will run on Mondays 14:00-18:00 and Tuesdays 09:00-15:00 (March, April and May); Mondays 14:00-18:00, Tuesdays 10:00-18:00 and Wednesdays 09:00-15:00 (February and June).

  • February 26-27-28 (Orpheus Institute, Ghent)
  • March 25-26 (Orpheus Institute, Ghent)
  • April 29-30 (The Hague)
  • May 27-28 (The Hague)
  • June 24-25-26 (Orpheus Institute, Ghent)

The nature of this series is such that numbers must be limited. Prospective participants are invited to apply by responding to this call at:


The form requests a brief description of the role of sound in your practice, which will allow us to balance the series appropriately. Application is open until 12 January 2024. Applicants will be notified by the 22nd of January.

Sound Arguments is made available at no cost to participants, regardless of institutional affiliation. At Sound Arguments we aim to create a safe and inclusive environment for all those involved; we particularly encourage applications from historically under-represented groups in the field. We aim to create a diverse community in terms of gender, background, and practice. As organisers, we commit to taking that into account during the evaluation of the applications received.

General inquiries can be sent to soundarguments@orpheusinstituut.be

We look forward to meeting you!

Magno Caliman (Orpheus Instituut) 
Marcel Cobussen (Academy of Creative and Performance Arts - Leiden University) 
Jonathan Impett (Orpheus Instituut)

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