Deltagere

Kontaktinfo

PURE fejl
PURE serveren er i øjeblikket ikke tilgængelig.

Om forskerne

Læs individuelle beskrivelser af forskerne tilknyttet Center for Sound Studies herunder:

Lea Maria Lucas Wierød Borcak

Musikvidenskab

Ph.d. på afhandlingen Formens Funktion i Salmesang – Melopoetisk Metode i Sanganalysen med særligt henblik på Salmer med Tekst af N.F.S. Grundtvig. I afhandlingen udforskes forholdet mellem tekst/ord og musik både generelt i sang og mere specifikt i salmegenren. Der argumenteres for, at sang og salmer primært er lydligt klingende objekter, som derfor må studeres som sådanne hvis man skal opnå fuld forståelse for deres betydningsdannelse. Et ensidigt fokus på tekstligt-verbalt indhold vil begrænse og vildlede indsigten i, hvilken type udsagn der kommunikeres i sang.
Beskæftigelse siden forsvaret i 2014: Undervisning i musikhistoriske og –teoretiske fag samt, forskningsmæssigt, en fortsættelse og udvidelse af sporet fra afhandlingen ud mod sangkultur i bred forstand (især fællessang). Der synges rigtig meget og i mange regier i Danmark lige nu, og bag denne tendens ligger ikke mindst en nyorientering mod lyd, stemme og performance i sang. Aktuel dansk sangkultur er derfor i høj grad et af de områder, der peger på behovet for en udforskning af lydkultur. 

Simon Roy Christensen

Simon Roy Christensen (DK, 1988) works at the interface of theory and practice in the fields of arts and aesthetics with a particular interest in intersections of Eastern and Western cultures. He holds a BA and MA in electronic music and composition from the Royal Academy of Music in Aarhus, Denmark, and a MA in Aesthetics and Culture from Aarhus University. Simon has studied several years in Japan, first at Kunitachi College of Music (2011-2012) and subsequently at Tokyo University of Arts (2014-2016), and is currently engaged as a PhD student at Aarhus University in a research project exploring forms of silence in traditional and contemporary Japanese arts. In parallel to his academic work, Simon maintains a compositional and performative practice which includes collaborations with a number of sound artists and composers such as Taku Sugimoto, Manfred Werder, lo wie, and Léo Dupleix.

Iben Have

Research profile: My research profile is interdisciplinary across Media Studies, Sound Studies, Digital Humanities, Musicology, Sociology, Aesthetics, and Culture Studies. The focal point of my research is sound and media in different constellations: music, voices and sounds in film, TV, and radio. Audiobooks, multimodal reading, audio design and audio technologies in production, distribution and usage. My primary interest is the interaction between medium, content and reception/use inspired by (post)phenomenology, affordance theory and sociology, but I also include production and institutional perspectives in studies of circuits of communication.  

For a list of publications I refer to my ORCID-ID: 0000-0003-1724-0898 or http://pure.au.dk/portal/en/persons/iben-have(f4bf49fa-96ee-443e-92c2-2bc8c7affc13).html

Teaching profile: I have 17 years of teaching and supervision experience (BA and MA) in both theoretical, empirical and production-based courses. My primary subject is Media Reception Analysis focusing on methodology and practical, empirical projects. At Media Studies I also teach Theories of Media, Culture, and Society and Media Text Analysis. At the department of Digital Design and Information Studies I have taught Audio Design and across the faculty of Arts I have taught several classes in Audiovisual Culture and Communication. I have extensive experience as a master thesis supervisor and as external examiner at KU, AAU and SDU. I have also offered courses and workshops in how to use the digital infrastructure LARM.fm (DIGHUMLAB).

Co-founder and editor of SoundEffects: An Interdisciplinary Journal of Sound and Sound Experience (www.soundeffects.dk).

Co-developer of the HTML5-version of the digital archive and infrastructure LARM.fm (www.larm.fm)

Managing group member of Digital Humanities Lab (DIGHUMLAB, www.dighumlab.org).

PhD supervisor for Sigrid Nielsen Saabye and Vadim Kaylin.

Grants: Danish Council for Independent Research (PhD Grant; Journal Grant SoundEffects; Research Projects 2 Grants (as participant) A Century of Radio and Music in Denmark and High-Tension Aesthetics). AU Ideas/AUFF (Starting Grant Digital Audiobooks; Pilot Center Grant (participant) Literature between Media; Publication Grant Lyt til tv [Listening to TV]).

Marie Koldkjær Højlund

In the spring 2017 I finished my PhD entitled “Overhearing - An Attuning Approach to Noise in Danish Hospitals” and I also work as a sound artist and musician. 

During my work I have been engaged in developing novel sound technologies for alternative listening situations, modifying existing electronic devices and designing sound environments and installations for various public spaces and hospitals. Through my artistic and academic work I have been, organising international academic conferences, acted as editor of journals and project manager for academic and artistic projects including the Aarhus 2017 project The Overheard. I am also an external curator for Kunsthal Aarhus’ music/sound programme. 

As a sound artist I exhibited sound art installations around Denmark including Love Alley, Kunsthal Aarhus, Kunsten Aalborg, Museet For Samtidskunst and Spor Festival. As a composer under the alias Marybell Katastrophy we received numerous grants, including a Steppeulv award, commissions, released several albums and played concerts and festivals across Denmark and Europe including Roskilde Festival, Nordklang and SPOT. Recently I composed and performed at Aarhus Theatre for “Lyden af de skuldre vi står på”. I am now also a part of the band Nephew. 

Vadim Keylin

My PhD project is titled Aesthetics and Politics of Participation in Sound Art. The issues of interactivity and participation feature prominently in the statements and works of many sound artists, however this aspect of sound art remains underexplored. In my project, I investigate the modes of participation that are specific to sound art and the strategies artists employ to facilitate and condition audience engagement. I also explore the political modalities of sound art that are often understated and implied rather than explicit, and their social context.

In a more general sense, my research interests concern the conditions of sound production – material, (inter)medial, social, institutional – in various genres of sound art and experimental music. I have previously done research on experimental musical instruments and sound sculptures.

Mathias Bonde Korsgaard

Lyd har altid spillet en væsentlig rolle i min forskning, men aldrig som et isoleret fænomen. Mit væsentligste interessefelt vedrører således samspillet mellem lyd og levende billeder i audiovisuelle medier. Særligt musikvideoens audiovisualitet og digitale transformation har været et fokuspunkt hvilket blandt andet har udmøntet sig i en række artikler og bogen Music Video After MTV. På den vis opfatter jeg mit arbejde som en del af det forskningsfelt man kunne kalde audiovisuelle studier, som på den ene side omfatter studiet af lydens funktion i skærmbaserede medier (filmmusik mv.) og på den anden side studiet af det visuelles rolle i (populær)musik. 

Netop nu er jeg engageret i et forskningsprojekt støttet af FKK under titlen ”Audiovisual Literacy and New Audiovisual Short-forms”. Projektet fokuserer bl.a. på såkaldte audiovisuelle remixes – hvilket vil sige alt fra Bad Lip Readings til musikvideoer uden musik, falske trailere, literal versions og ”Hitler finds out…”-videoer. Disse remixes kan antageligvis ses som udtryk for en gryende media literacy, forstået således at de demonstrerer hvorledes almindelige mediebrugere nu i høj grad besidder grundlæggende kompetencer indenfor audiovisuel produktion.

Ansa Lønstrup

Centerleder og lektor emerita

Jeg har siden 1982 arbejdet med musik og lyd i multimediale kontekster som film, video, opera, samtidskunst, i 2010-14 i mit kollektive forskningsprojekt Audiovisuel Kultur og (forestillingen om) den gode lyd finansieret af Det Frie Forskningsråd. Jeg har skrevet/publiceret bøger om Musik, film og filmoplevelse, Stemmen og Øret, Blik for lyd. I mit aktuelle bogprojekt undersøger jeg under arbejdstitlen Lytterum lytningens væsen og vilkår i vores nutidige kultur, hvor interessen for igen at lytte i fællesskaber – og ikke kun individualiseret i hver voreshovedtelefoner – kan konstateres i mangeartede kulturelle former og formater: radiobiograf, biografopera, samtidskunst med lyd på kunstmuseer og festivaller, litteratur på scenen, standup, foredragsrækker, stilheds-iscenesættelser i organisationer, stilheds retreat, korsang, fællessang, frekventering af særlige bygninger med en særlig lyttende akustik (fx kirker m.m.). Min undersøgelse interesserer sig for genetableringen af en lyttende kollektiv kultur og adfærd over for den aktuelt dominerende, individualiserede ytringsfrihedskommunikerende modus samt generelle betingelser for og konsekvenser af lyd og lytning (eller mangel på samme) i offentlige rum forstået som fælles lytterum.

Steen Kaargaard Nielsen

I specialize in various areas of 20th and 21st century music ranging from art music over film music to forays into popular music. Most subjects are linked by a prominent interest in phonographic music, both historical and contemporary, and the cultural practices involved in both its production and use. My phonomusicological publications include 'A change of scene: On the phonographic reconceptualization of the Broadway musical in the 1940s as reflected in commercial Kurt Weill cast recordings' (2005), 'Wife murder as child's game: Analytical reflections on Eminem's performative self-dramatization' (2007), and ‘“And incidentally, the score is quite beautiful”: Work conceptual reflections on the phonographic re-mediations of Max Steiner’s symphonic film score for Gone with the Wind (1939) as soundtrack album’ (2008).

In relation to the field of sound studies, my main research interest is phonographic sound and audio culture, in particular how the development and dissemination of commercial phonography in the early twentieth century affected the sound(ing) of music as a cultural and aesthetic construct in Western musical culture.

In the past few years my research has centered primarily on two more specific subjects:

1) Early Danish phonography, particularly a rediscovery and exploration of the Ruben collection of wax cylinder recordings made by recording pioneers Gottfried Ruben and Valdemar Cornelius-Knudsen on Edison phonographs in Copenhagen between 1889 and 1895. The collection offers not only a fascinatingly rich impression of the vibrant cosmopolitan cultural and musical life of Copenhagen in the 1890s but also documents very early phonographic production and user practices. A monograph written with recording engineer Claus Byrith in Danish is forthcoming: Danmarks første lydoptagelser – Edisons fonograf i 1890'ernes København.

2) And as part of the national radio research project A century of Radio and Music in Denmark (RAMUND), my research has addressed the problematic meeting of two major sound technologies, as the introduction of electrical recording in the mid-1920s, generally considered a milestone in the technological development and commercial exploitation of phonography, coincided with the establishment of the Danish state broadcasting corporation in 1925.

Birgitte Stougaard Pedersen

Birgitte Stougaard Pedersen (born 1970) PhD and associate professor at the Department of Aesthetics and Communication, Aarhus University. She has written on rhythm, the voice, aesthetics and meaning theory in the interrelationship between literature and music. Between 2006 and 2009 BSP worked on Danish rap music as part of the research project Rhythm, groove and gesture in Danish hip hop, between the local and the global. Among her publications is Lyd, litteratur og musik: Gestus i kunstoplevelsen (2008) and with Iben Have Digital Audiobooks: New Media, Users, and Experiences (Routledge, 2016). She has co-edited Hiphop i Skandinavien (2008), Off Beat - Pluralizing Rhythm (2013), Litteratur mellem medier (2017) and Kreativ markedskommunikation – æstetik og deltagelse (2017). She is one of the founding editors of the online journal SoundEffects - Interdisciplinary Journal of Sound and Sound Experience. As a singer, she has worked with groups that include the professional vocal ensemble Musica Ficta.

Karin Petersen

Videnskabelig assistent

Jeg interesserer mig særligt for musikkens æstetiske forandring og har beskæftiget mig med så forskellige fænomener som acid jazz, jazz og poesi, nouveau easy avantgarde, art techno, lidelsens ’voice under’, det hverdagslige, lyd som narration, det vulgære eller det atmosfæriske, med særligt fokus på værkkarakter og udsigelse.  Desuden har jeg i en årrække arbejdet som producer og projektleder inden for film- lyd- og videokunst og har været fast tilknyttet kunstnerduoen Hanne Nielsen og Birgit Johnsen de seneste ti år. (se www. Videoraum). Af værker kan fremhæves lydinstallationer som Random Composition, hvor fugtposer ophængt i et rum spejler dets atmosfæriske ambience,  Kind of Noisy Silence med et gispekor eller Stilleben – a Road Movie through the Z Axis, hvor en CT-scanner transformerer traditionelle stilleben-opstillinger til generative abstrakte figurer skåret med en minimalistisk kniv, som vi kender det fra Brian Eno. Endelig arbejder jeg som oversætter og tekster af kunst- og kulturprogrammer, fortrinsvis for DR og ARD.

Sigrid Nielsen Saabye

Sigrid Nielsen Saabye er ph.d.-studerende på medievidenskab, Institut for Kommunikation og Kultur.

Mit ph.d.-projekt handler om podcastlytning i hverdagslivet. Jeg forsker i danskeres udvælgelse, inddragelse og oplevelser af audiopodcasts i forskellige lyttesituationer og den rolle, podcastprogrammerne hermed får i en hverdagslig kontekst. Dels for at få kendskab til en ny form for radiolytning, som er forskellig fra almindelig flow-radiolytning, og dels som indgang til at undersøge on demand mediebrug mere generelt: hvordan navigerer vi og hvilke formål udvælger vi på baggrund af, når vi har alverdens programmer til rådighed, når som helst og hvor som helst?

Jeg gør brug af forskellige kreative kvalitative metoder såsom logbogsforløb med øvelser, interviews og workshops med Lego (som et redskab til at tænke med og tale ud fra). Og så arbejder jeg med tre grundprincipper i min tilgang til empirien og mine informanter: inddragelse/medbestemmelse, metaforanvendelse og mulighed for forskellige udtryksmuligheder samt refleksionsrum og -tid.

Anette Vandsø

Post doc v. Aarhus Universitet og ARoS, Aarhus kunstmuseum

Overordnet set forsker jeg i, hvad det vil sige at være et teknisk væsen i en mediebåren verden, hvor vores hands-on brug af konkrete materialer, instrumenter og teknologier former vores kultur og os selv. Jeg har især beskæftiget mig avantgardemusik, elektroakustisk musik, lydkunst, feltoptagelser og videnskabelig sonificering af data. I regi af Center for Sound Studies arbejder jeg med: 

  • lydopdagelser og sonificering af data i en kulturel kontekst med fokus på digital kultur, vores skiftende naturforhold og erindringskultur.
  • den teoretiske beskrivelse af det lydbaserede musik -og kunstværk.
  • podcast som museumsformidling.

Jeg har publiceret om disse emner bl.a. i Leonardo, DanishMusicologyOnline, Organised Sound og i Routledge’s More Than Pretty Pictures og er desuden forfatter til bogen Musik som værk og Handling (2016). Min forskning i lyd er støttet af det Danske Forskningsråds eliteforsk program. I regi heraf har jeg været gæsteforsker og -forelæser på Humbolt Universitet, Belin (SoundStudiesLab) og Universitet Lavel, Quebec. Jeg var initiativtager til den internationale lydkunstkonference Sound Art Matters (2016) (se videoer fra konferencen her (indsæt hyperlink http://conferences.au.dk/soundart2016/ og det Nordiske Netværk for Forskning i Lydkunst (2013). Du kan også høre mig tale om lyd i Radio 24/7 her.