Course Description

Sound and Research-Creation (SnRC) is an ongoing research initiative at the intersection of Sound Studies and Artistic Research (research-creation). Dedicated to a critical and research-led exploration of sonic practices in art, design, and music, SnRC integrates philosophical, socio-cultural, and economic perspectives to investigate how sound, technology, and artistic methodologies intersect across diverse contexts. At its core, SnRC bridges theoretical inquiry with artistic practice, encouraging students to experiment with the ephemeral nature of sound while developing thorough conceptual frameworks.

In past iterations, SnRC coursework has focused on transposing aspects of a student’s existing project into a sonic paradigm – exploring aesthetic considerations of sound and research, experimenting with fabulation as an inquiry method (e.g., using creative writing as a narrative device), and “problematizing” practice by thinking through, producing, and critiquing theory. These experiences have underscored how sonic thinking can illuminate new dimensions within students’ artistic or design work.

This semester, SnRC continues to position sound as both a conceptual and methodological framework accessible to everyone, whether they consider themselves “sound artists” or not. Students will be introduced to select sonic theories, philosophical perspectives, and art-writing approaches, while listening to audio works that span multiple genres and historical periods. By the end of the course, participants will gain clarity on how “sonic thinking” can help delineate their research interests – ultimately finding or refining their own “voice” (both conceptually and, where relevant, literally) within their chosen medium.

As part of this discovery-led approach, students will engage with reading and writing experiments, develop a basic familiarity with audio production, and create a very short-format audio podcast (as part of the Loopholes series) early in the semester that tackles an aspect of their inquiry in an experimental manner. Later in the term, they will also produce a (free and wild) radio show on Radio Angrezi, where they can present by the end of the term interim findings, express emerging ideas, and push the boundaries of their creative practice. This combination of conceptual exploration and hands-on experimentation aims to foster a richer understanding of how sound can inform and transform artistic research.

Course Description

Sonic Theories Aloud is designed for students who are interested in sonic philosophies and sound-related art practices, who want to engage in critical reading, listening, and writing for audio production, and who appreciate a challenge, as the course content is demanding. The course will introduce students to selected sonic theories in the first half of the semester, focusing on sonic ontology, epistemology, and methodology, which can serve as a resource for the creation of a 12-15 minute audio essay in the second half of the semester, to be broadcast on Radio Angrezi during Open House (Hochschultage) 2025. The audio essay can take a conventional or more experimental approach, possibly reflecting and presenting the student’s work (e.g., using your work to explore specific epistemologies of the sonic in your practice). What this means and how it can be done will be guided and part of the coursework (incl. audio production sessions, esp. for those less familiar with voice recording and post-production). The aim is to engage with reading, writing, and exploring sound-text relationships as opposed to written forms of presentation – a new current in the dissemination of research in sound studies, sound art, or any theory-led art practice and practice-based researches.