About

Hanbing is a passionate researcher and teacher with a background rooted in the professions of planning and landscape architecture. Han has diverse experience teaching undergraduate and graduate-level planning and landscape architecture courses at multiple institutions. Her teaching, research, and practical experiences can be viewed through a shared lens of equity and inclusion, embodied by extensive experiences engaging with local communities, especially communities of color in the U.S., understanding their experiences in the built environment, and their fundamental needs when navigating everyday life. Han’s research develops from two under-explored themes within urban systems: soundscape and food systems. Her dissertation investigates the role of soundscape in outdoor learning environments. Additionally, she is a researcher at the Kaufman Lab, examining the impacts of farmers’ markets on local and regional food systems. Professionally, Han has worked at the Michigan Department of Natural Resources to develop general management plans for state parks. She has also contributed to various local and regional design and research projects in Michigan, Wisconsin, California, and Missouri and abroad in China. Currently, Hanbing is finishing her Ph.D. in Urban and Regional Planning at the University of Wisconsin-Madison. She holds a Master’s degree in Environmental Design and dual Bachelor’s degrees in Urban and Regional Planning and Landscape Architecture from Michigan State University.

Lauren is a sonic researcher, sound media producer, and PhD Candidate in the Faculty of Information at the University of Toronto. Her current research interests include: acoustic ecology, decolonial / anticolonial media studies, and sensorial ethnography.

As an artist, she works across and between various mediums, most often utilizing sound as a tool to engage in environmental, political, and social discourse.

Marcus Maeder is an artist, researcher and composer of electronic music. As an author, Maeder has written on a number of topics in the fields of sound art, acoustic ecology, artistic research and digital media.

Maeder studied Fine Arts at the Lucerne University of Applied Sciences HSLU, Philosophy at the Fernuniversität in Hagen and completed his PhD in Environmental Systems Science at ETH Zürich. He runs the music label domizil together with Bernd Schurer. Maeder has worked as an editor and producer for the Swiss radio station SRF and has been working as a researcher and lecturer at the Institute for Computer Music and Sound Technology (ICST) of the Zurich University of the Arts ZHdK from 2005 until 2025. Marcus Maeder is currently heading the ‘Knowledge to Society/KNOTS’ degree program at the University of Applied Sciences Lucerne/Art and Design as a professor. He is guest scientist at the Swiss Federal Institute for Forest, Landscape and Snow Research WSL and is research fellow at Freie Universität Berlin. Maeder is vice president of the Swiss Society for Acoustic Ecology SSAE and a board member of the World Forum for Acoustic Ecology WFAE.

In his research, Maeder is working on bioacoustic and ecoacoustic investigations of areas, communities and organisms under the influence of climate change and other environmental issues. He contextualises his scientific work in the fields of Acoustic and Soundscape Ecology, as well as Artistic Research. Marcus Maeder’s art is located in the field of envrionmental and ecological art.

Bio forthcoming.

I am a composer, sound artist, researcher and field recordist. I focus on contemporary concert music, multichannel electroacoustic music and sound installation. My line of research focuses on acoustic ecology, and soundscape studies, with particular interest in the intersections between sound art and biological sciences. I am the recipient of several awards and grants, most recently, "Sistema Nacional de Creadores de Arte 2023-2026"; “Sharing Knowledge” by the Danish Composers' Society and Art Music Denmark in collaboration with Initiative Neue musik, Berlin 2023; "Internationaler Koproduktionsfonds 2022-2023" by the Goethe Institut, "Art/Nature Composer in Residence 2021" by the Crespo Foundation, in Glekeen Garden, Ireland. "Jovenes Creadores FONCA 2021-2022", "Composer in Residence 2019" by the Archiv Frau und Musik in collaboration with the Höschule für musik und Darstellende Kunst in Frankfurt, Germany. "Arte, Ciencia y Tecnología ACT, FONCA-UNAM 2019-2020", "Ibermemoria Sonora y Audiovisual 2021" in collaboration with Abirds and the Centro de Investigaciones Biológicas de la UAEM. I am currently pursuing doctoral studies focused on "Biomusic" with Carola Bauckholt at the Anton Bruckner Private University, in Austria. Graduated from the Master in Musical Creation, New Technologies and Traditional Arts, from UNTREF; Specialization in Object Theater, Interactivity and New Media from UNA, in Argentina, with support from the program Studies Abroad 2015-2017 of FONCA-CONACYT. Graduated in 2014 with honors from the Faculty of Music of the UNAM.

Jacek Smolicki (born during martial law in Kraków) is a Stockholm-based cross-disciplinary artist, designer, researcher and educator. His work explores temporal, existential and technological dimensions of listening, recording and archiving practices in human and more-than-human realms.

Besides engaging with historical archives, media, and heritage, Smolicki develops other modes of sensing, recording, and mediating stories and signals from specific sites, scales, and temporalities. His work is manifested through hybrid soundwalks, soundscape compositions, diverse forms of writing, site-responsive performances, experimental archives, and audio-visual installations.

He has performed, published, and exhibited internationally (e.g. In-Sonora Madrid, Atlantic Center for the Arts, Moscow International Biennale for Young Art, AudioArt Kraków, Ars Electronica, Linz, Sonorities, Belfast, and Historical Museum of Bosnia and Herzegovina, Sarajevo).

Linda O’Keeffe’s work merges equality, science, technology, ethics, society, and communication. Her project “Evolving Ourselves with Unnatural Selection,” supported by Creative Scotland and the SETI Institute, explores gene editing and climate adaptation through art and science. O’Keeffe’s installation “Hybrid Soundscapes I-IV,” part of the “Sounds Like Her” exhibition, reflects on renewable energy’s impact on rural areas, based on three years of research. This toured UK galleries from 2017-2020. Her album “Silent Spring” highlights field recordings and challenges perceptions of climate change soundscapes.

As the founder of Women in Sound Women on Sound (WISWOS), O’Keeffe promotes diversity in sound art. Recognized by the Arts Council of England in 2018, she traveled to Brazil, delivering talks and workshops, and released two albums. Her book “The Body in Sound, Music and Performance” (2022), features contributions from over 20 women globally.

Dr. Leah Barclay is an Australian sound artist, composer and researcher working at the intersection of art, science and technology. She specialises in electroacoustic music, acoustic ecology and emerging fields of biology exploring environmental patterns and changes through sound. Her work has been commissioned, performed and exhibited to wide acclaim internationally by organisations including UNESCO, Ear to the Earth, Al Gore’s Climate Reality and the IUCN. She is currently the director of Biosphere Soundscapes and a research fellow at Griffith University in Australia where she is leading a portfolio of research in acoustic ecology and climate change.

Professor of Sound and Media Culture at the Media Department of Darmstadt University of Applied Sciences. Appointed in 2006.

Co-founder of the Master's program "Sound Studies" at the Berlin University of the Arts. She was a visiting professor for experimental sound design there from 2004 to 2008.

2005/2006 Director of the temporary German-Polish artist radio station “Radio_Copernicus” on behalf of the Federal Cultural Foundation.

Since 1988, she has worked as a writer, director, editor, and dramaturge for the radio drama, feature, and cultural departments of ARD, and since 1998 for SWR, particularly in the field of radio drama and new media. From 1993 to 1996, she launched the experimental broadcast series "International Digital Radio Art" on Sender Freies Berlin.

Artistic and scientific director of international festivals and symposia, including “Sound Environments” (Academy of Arts Berlin 1995), “All Ears” (Kassel/Documenta 1997), City Voices (State Capital Wiesbaden 1999), “Trans_Canada” (ZKM Karlsruhe 2004), “Sound, Media and Urban Space” (Academy of Arts Berlin 2005), “Expanded Interface” (Ars Electronica Linz 2010).

Jesse Budel is a composer-performer and sound artist based in Adelaide, South Australia. He recently completed a PhD at Elder Conservatorium of Music, The University of Adelaide (with an Australian Postgraduate Award), focussing on adapting soundscape ecology frameworks and methodologies to creative process, applied in the production of works responding to engagement with specific sites, and related ecosystems and soundscapes. In 2024, Jesse is an Arts South Australia Fellowship for higher-order ambisonics research and creative practice. Currently, he is a Research Associate at The University of Adelaide, and also serves as the Secretary for the Australian Forum for Acoustic Ecology.​

TBA

I am a musician, acoustic ecologist, sound artist and composer. I seek spaces with limited anthropogenic sounds including infrasound interactions. With an ongoing quest for sonic immersion and creative compositional devices with authenticity and inspiration I delve into an organic landscape of sound. I records sounds and create works which open the senses to rarely heard sounds existing within the environment and explore the spaces between hearing music and sound as a cultural experience and the aural vibration, not only within the being but beyond. I am fascinated by questions such as: How do our sounds impact our own beings and how do they impact ecosystems? How does another being perceive but a human may not? Can we attempt to hear the world as it is experienced by a particular organism? How do different animals in the same ecosystem tune into different environmental signals and how are these signals fundamental to their communication and signification? How can we hear beyond the limits of our hearing? My focus is to record, compose with, and feature ever-diminishing habitats and species. Highlighting unique sounds from the micro to the macro, I utilise sounds we rarely or can not hear. I have composed, produced and performed in live concerts, international conferences, solo recordings and videos ranging from chamber music to exploratory work with sound art. I travel the world recording nature’s sounds as well as performing in acoustically interesting environments including Mabolel Rock (South Africa) with a pod of Hippopotami, the Amazon jungle and Antarctica.

Mickey Vallee holds a Tier 2 Canada Research Chair in Sound Studies at Athabasca University. He uses traditional qualitative methods to understand the personal and collective experiences that researchers, cultural producers and people in everyday life have with emerging sound technologies. He is also experimenting with “inventive” methods to test the value of creative interdisciplinary research and collaboration, including the use of digital apparatuses and storage, and analysis software. He has published three books and over 30 academic articles and chapter contributions on how sound contributes to knowledge in science, philosophy, and the arts. His current research project involves a novel approach to bioacoustics as a lived experience between humans, animals, and the environment, and is situated entirely in the wilderness of Southwest Alberta, Treaty 7 territory of the Blackfoot/Niitsítapi.

Ari Koivumäki started working with sound in 1980 as a sound engineer in the Finnish Broadcasting Company (YLE). In the 1990s, he become a lecturer in sound design, taking part (alongside his students) in many soundscape projects and publications together with Finnish Society for Acoustic Ecology since 1999, both in Finland and in greater Europe.

Ari has also presented papers at several conferences related to sound engineering, soundscape studies and ambiance. He received his doctorate from Aalto University, School of Art and Design in 2018, where his dissertation focussed on how to benefit soundscape studies within sound design. Currently, Ari is working as a Principal lecturer of media production in Tampere University of Applied Sciences (TAMK). Here, he has participated in R&D programs focusing on digitizing wellbeing services and addressing challenges related to population ageing, in cooperation with companies and public organizations.

BIO

​Dr. Tadahiko Imada is Professor at Hirosaki University in Japan, teaching music education based on the concept of soundscape. He holds a BMus from Kunitachi College of Music in Tokyo; an MA from Simon Fraser University where he studied as a recipient of the Government of Canada Award; and his PhD is from the University of British Columbia in Canada. Dr. Imada is co-author of A Little Sound Education (together with R. Murray Schafer, Tokyo: Shunjusha, 1996, 2009); Music Education Policy and Implementation: International Perspectives (co-edited with Chi Cheung Leung and Rita Yip, Hirosaki University Press, 2008) and The Oxford Handbook of Philosophy in Music Education (edited by Wayne Bowman and Ana Luca Fruga, Oxford University Press, 2012).

Kristine Diekman is a media artist and educator working in responsive media, sound, drawing, documentary and experimental film, and social practice art. Collaborating with scientists and other artists, she co-creates multi-sensory installations that activate tactility, haptics and deep listening as strategies to enhance intersubjective experiences. Her current collaborative projects include biotremology, specifically insect vibration communication, and inclusive environments. Her latest collaborative museum installation focused on the sonification and haptics of stellar data. Recent documentary film projects include water and environmental justice, proposing new frameworks for political ecologies of water in California. As an educator, she facilitates international workshops in embodied storytelling and physical computing that lead participants through writing, craft, computing, and sound production to create interactive tactile audio interfaces to tell stories. She engages in numerous cultural collectives to bring sound art practices to global communities including The VIBRA Research Network (Europe), Real More Real (US), and TreeCreate (AUS). She has received several awards, grants and residencies, and presents her work world-wide. She is Emeritus Professor in the Art, Media & Design Department at California State University.

Fausto E. Rodríguez Manzo is an architect, Master and Doctor in Design from UAM. He holds many positions, including as Research Professor of the Department of Processes and Techniques CyAD UAM-Azc, Head of the Acoustic Analysis and Design Research Area and Laboratory, Professor of Architectural and Urban Design and elective courses (Space, sound and architecture; Acoustics and noise control in buildings; noise and city; Dialogues with music), Professor of the Postgraduate in Design and Urban Studies at UAM-Azc, and National Researcher of the National System of Researchers SNI-CONACYT level 2.

An author of specialized books and articles, Fausto currently directs the SEP-CONACYT Basic Science Project: "Environmental noise in the urban space of Mexico City". He carried out acoustic design of the Mateo Herrera Auditorium of the Cultural Forum of Guanajuato, in León, Gto Coordinator of the First Noise Map project for the Metropolitan Area of ​​the Valley of Mexico by UAM-A in collaboration with the SMA to the SMA of the Government of the Federal District between 2009 and 2011.

Marcus Maeder is an artist, researcher and composer of electronic music. As an author, Maeder has written on a number of topics in the fields of sound art, acoustic ecology, artistic research and digital media. Maeder studied Fine Arts at the Lucerne University of Applied Sciences HSLU, Philosophy at the Fernuniversität in Hagen and completed his PhD in Environmental Systems Science at ETH Zürich. He has worked as an editor and producer for the Swiss radio station SRF and has been working as a curator, researcher and lecturer at the Institute for Computer Music and Sound Technology (ICST) of the Zurich University of the Arts ZHdK since 2005. Maeder is visiting scientist at the Swiss Federal Institute for Forest, Landscape and Snow Research WSL and currently holds a position as Humboldt Research Fellow at Freie Universität Berlin.

Dr. Rob Mackay is an award-winning composer, sound artist and performer. Recent projects have moved towards a cross-disciplinary approach, including geology, soundscape ecology, theatre, audiovisual installation work, and human-computer interaction. His work has been performed in 18 countries (including several performances on BBC Radio 3, BBC Radio 1 and Radio France), and a number of his pieces have received international awards (Bourges (1997 and 2001), EAR (1999), La Muse en Circuit (2007)). He has held composer residencies at Slovak Radio (Bratislava), La Muse en Circuit (Paris), the Tyrone Guthrie Arts Centre (Ireland), Habitación del Ruido (Mexico City), and CMMAS (Morelia).