http://www.trouw.nl/tr/nl/5091/Religie/article/detail/4411102/2016/11/09/Stilte-is-het-begin-van-luisteren.dhtml

Interviewed for Radio WEB MACBA (Barcelona Museum of Contemporary Arts) 2014

http://rwm.macba.cat/en/research/on-listening-1/capsula

https://www.theguardian.com/lifeandstyle/2016/oct/23/cult-of-quiet-in-pursuit-of-silence-movie

Interviewed by Andrej Tomazin for Radio Študent, Ljubljana, Slovenia, podcast (http://radiostudent.si/kultura/otitis-media/om-46-salomé-voegelin)

Interviewed by Anna Raimondo for Syntone

http://syntone.fr/salome-voegelin-pour-une-approche-philosophique-du-son/

Interviewed for Sonic Terrain http://sonic-terrain.com/2015/12/listening-to-inner-voices-and-sonic-possible-worlds-an-interview-with-salome-voegelin/

Interviewed for fourbythree magazine

http://www.fourbythreemagazine.com/salome-voegelin-interview-sonic-possible-worlds.html

https://www.washingtonpost.com/goingoutguide/museums/fermata-at-artisphere/2014/05/08/4bec5ac8-d21f-11e3-9e25-188ebe1fa93b_story.html

Interviewed for Grafters Quarterly, 'Indexing Abstraction', December 2014, Bergen, Norway

Interviewed for radikaliai a Lithunian journal for politics and culture, September 2014 http://www.radikaliai.lt/radikaliai/2057-salom-voegelin-there-are-sounds-that-we-cannot-or-do-not-want-to-hear

Interviewed for the The Archive of Now, 2013:

http://www.archiveofthenow.org/pages/an-interview-with-salome-voegelin/

Interviewed for Les Matinales d’Espaces2, Swiss Radio RTS, broadcast 26.12.12

Interviewed by urbantick about sound and time:

http://urbantick.blogspot.com/2010/09/mytime-interview-salome-voegelin-on.html

Hebdo, Semaine du 5 janvier 2012, ‘Les 10 Suisses qui font bouger Londres’ by Julie Zaugg

Blow-UP magazine: roch e alter contaminazioni, March 2012 issue, by Leandro Pisano

Interviewed by Mark Peter Wright for Ear Room, re-sounding dialogues across the globe,

http://earroom.wordpress.com/2012/07/01/salome-voegelin/ July 2012,

On BBC radio 4 ‘PM’ with Eddie Mair, 8th November 2010

(reviewed on http://shirazsocialist.wordpress.com/2010/11/08/cage-against-the-machine/)


Book reviews for Listening to Noise and Silence: Towards a Philosophy of Sound Arts


Listening to Noise and Silence: Towards a Philosophy of Sound Arts, published by Continuum, Bloomsbury (2010), 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 perceptive contribution to an emerging debate.’ (Montgomery, The Wire, August 2010). It was mentioned alongside writings by David Toop and Steve Goodman as providing ‘new departures in the academic study of sound’ (Times Higher Education, 28 October 2010). Other reviews of the book have appeared in Art Monthly, Avant Music Press, the London Review of Books, and the Journal for Sonic Studies. It is widely cited and has managed to foster a popular imagination about sound art.


Book reviews for Sonic Possible Worlds: Hearing the Continuum of Sound


Sonic Possible Worlds: Hearing the Continuum of Sound, Bloomsbury, NY 2014, was considered ‘the most complex, interesting and astonishing book I've ever read’ by Mindaugas Peleckis in radikaliai, 26 January 2015. And David Rothenberg, writing in The Wire: Adventures in Modern Music (370, December 2014), considers that it ‘might change the way you listen, and increase the depth of your questioning and wondering.‘ At the same time, for Leandro Pisano from Blow-Up Magazine ‘The author traces a trajectory in which not only aesthetic meanings are highlighted, but also social and political ones, tied to listening, intended a as generative and participatory practice.’ (Blow-up Magazine, issue 201, 2015). And while Neural’s Aurelio Cianciotta concludes that ‘Voegelin dares to analyse “listening to the inaudible”, venturing into what only our mind can create’ (Neural, 1 July, 2015), Marcel Cobussen in the Journal of Sonic Studies suggest that ‘Sonic Possible Worlds is a provocative and challenging endeavor to take this necessary discussion to a high scholarly level without losing the connection with the art works themselves.’ (Journal of Sonic Studies, http://sonicstudies.org/voegelin2014) and Thibault De Meyer writing in Revues 2015, (https://lectures.revues.org/18937) suggest that ‘Sonic Possible Worlds mérite d’être lu par les philosophes et les artistes’.

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