Associate Professor Densil Cabrera is affiliated with the School of Architecture, Design and Planning at The University of Sydney, where he directs the Audio & Acoustics Program. He holds a PhD in psychoacoustics from the University of Sydney, along with degrees from UTS and Sydney in music and communication studies. His research focuses on architectural acoustics, retroreflective surfaces, room acoustics modeling, and auditory environments in built spaces. He explores applications in concert halls, open-plan offices, and historical structures like Indian stepwells. Key areas include acoustic retroreflection for speech support, sustainable acoustic materials, and the integration of digital fabrication techniques. Recent work addresses acoustic comfort in open-plan offices, adaptive acoustic models, and the impact of materials like mycelium composites. He has led projects on robotic fabrication for acoustic surfaces and the psychoacoustic effects of room design. Grants: Australian Research Council (DP23), Australian Acoustical Society (2019) Expertise: Stage acoustics, auditorium design, noise control, virtual reality simulations Labs/Teams: Audio & Acoustics Program at Sydney School of Architecture, collaborations with robotics and material science teams.
Dr. Melissa Marselle is a Lecturer in Environmental Psychology at the University of Surrey, working within the Environmental Psychology Research Group (EPRG) in the School of Psychology, Faculty of Health and Medical Sciences. With over 12 years of interdisciplinary research experience, her work bridges environmental psychology, biodiversity conservation, and public health. She has held research positions at multiple institutions across the UK, Germany, and the United States, focusing on how nature contact influences human health and well-being. Dr. Marselle's educational background includes: PhD in Environmental Psychology from De Montfort University (2010-2014) MSc in Environmental Psychology (Distinction) from the University of Surrey (2003-2004) BA in Psychology from Oregon State University (1999-2003) Her research primarily focuses on the health benefits of nature and biodiversity, as well as the psychology of sustainability. Dr. Marselle investigates which types and qualities of nature influence health outcomes, how biodiversity specifically affects mental well-being, and what "doses" of nature provide optimal health benefits. She also examines why sustainability policies often fail by analyzing behavior change interventions within conservation strategies, seeking to improve policy effectiveness through psychological insights. Analysis of Dr. Marselle's recent publications reveals a strong trend toward understanding the specific mechanisms linking biodiversity to human health. Her work increasingly focuses on urban environments, soundscapes, and the psychological pathways through which nature contact improves well-being. There's a notable emphasis on translating research into practical applications through nature prescriptions and social prescribing programs, with growing attention to equity issues in accessing nature's health benefits. Dr. Marselle serves as an Associate Editor for the journal "People and Nature" and is a member of the EKLIPSE Expert Working Group on Biodiversity and Mental Health, which has produced influential systematic reviews on urban green and blue spaces. As an educator, Dr. Marselle teaches in the MSc Environmental Psychology program, covering topics including the health benefits of nature, behavior change theory, and design against crime. She also serves as Dissertation Tutor for undergraduate psychology students. Her research collaborations span multiple international institutions, including the James Hutton Institute (UK), University of Michigan (USA), Helmholtz Centre for Environmental Research (Germany), and Technion Institute of Technology (Israel). Dr. Marselle leads and participates in several significant research projects, including Dr. FOREST (studying forest diversity effects on human health) and EKLIPSE (investigating which types of urban green and blue spaces impact mental health). Her work combines environmental psychology with conservation science to develop evidence-based approaches for urban planning and public health interventions.
Ansuman Biswas is a Lecturer in Live Art and Contemporary Performance at Queen Mary University of London’s School of English and Drama. He holds a BA (Hons) in Drama from Dartington College of Arts and has a multifaceted career spanning music, theatre, visual art, and interdisciplinary collaborations. His work bridges science, art, and spirituality, emphasizing improvisation, consciousness, and Indian philosophical traditions. Notable roles include serving as External Examiner at Westminster University, Co-Chair of the Live Art Development Agency, and Trustee of Longplayer. His research explores vipassana meditation’s impact on artistic practice, with projects like the Horniman Museum’s Time Sculptor examining time manipulation through performance, installations, and poetry. Biswas has held residencies globally, collaborating with institutions like the European Space Agency, Schumacher College, and the National Institute of Medical Research. His creative practice includes composing for major theaters (e.g., Shakespeare’s Globe, Royal National Theatre) and touring with artists like Björk and Oasis. Biswas’s work often challenges boundaries between disciplines and cultures, fostering innovative intersections between art, technology, and ecology. Education: BA Hons in Drama from Manchester University and Music at Dartington College of Arts. Previous academic roles include Senior Lecturer at Dartington College of Arts (developing an MA in Arts & Ecology), Creative Director of the Tagore Centre UK (2013–2016), and Lecturer at Guildhall School of Music and Drama (2017–2020). He has pioneered interdisciplinary projects at Hewlett-Packard’s Bangalore lab and been an artist-in-residence at NASA-related initiatives. His artistic collaborations span diverse fields, from neuroscientists in Arizona to nomadic shamans in the Gobi Desert. Research focuses on listening as a transformative practice, improvisation’s role in uncovering unconscious creativity, and the application of meditation principles in art. Recent work includes the pandemic-era Infectious Air series exploring Zoom-based improvisation and the Social Intimacy project with Theatre of Research. His projects often involve experimental venues (e.g., Gothic towers, underwater sculptures) and emphasize ethical engagement with communities and environments. Publications span performance theory, musicology, and interdisciplinary art criticism, with notable contributions to Posthuman Spiritualities in Contemporary Performance and Music & Consciousness . His artistic works have been exhibited at Tate Modern, the Whitechapel Gallery, and festivals worldwide. Biswas’s pedagogical approach integrates experiential learning, mentorship, and cross-cultural dialogue, reflecting his commitment to fluid identity and collaborative innovation.
Dr. Tony Stockman is a Senior Lecturer at Queen Mary University of London's School of Electronic Engineering and Computer Science. His teaching focuses on Database Systems, Interaction Design, and Semi-structured Data Modelling across undergraduate and postgraduate programs. His research interests include Human-Computer Interaction, Auditory Displays, and Data Sonification, with a strong emphasis on accessibility and cross-modal interfaces. Dr. Stockman has contributed to over 100 publications, exploring topics such as biofeedback systems, assistive technologies for visually impaired individuals, and collaborative design methodologies. His work frequently bridges technical innovation with user-centric design principles. Notable projects include the development of non-visual navigation tools like the Audiom web-based map viewer and co-designed haptic wearables for music synchronization. His research also addresses challenges in education technology, such as dyslexia screening through serious games.
Dr Will Schrimshaw is a Lecturer in Popular Music Technology and Composition at the University of Sheffield, directing the University of Sheffield Sound Studios. His work bridges creative practice and critical writing, focusing on electronic music, sound synthesis, and sound’s role in contemporary art. He holds a Fellowship of the Higher Education Academy (FHEA). Research Interests: Exploratory electronic music and ambient aesthetics Sound in contemporary art, including environmental and art-science collaborations Sound installations and spatial sound practices Philosophical inquiries into sound and its non-cochlear dimensions Key Themes in Publications: His articles and books explore sound’s immanence, immersion, and its relationship to space, affect, and philosophy. Recent works analyze Maryanne Amacher’s psychedelic soundscapes and critique sonic epistemology through Deleuzian frameworks. Awards: Fellow of the Higher Education Academy (2021) Professional Activities: Commissions and exhibitions with major institutions like FACT Liverpool, Tuned City, and Yorkshire Sculpture Park. Technical consultant for arts organizations and festivals. Previously taught at Newcastle University and Edge Hill University. Labs/Teams: Directs University of Sheffield Sound Studios, a hub for experimental music and sound art production.
Dr Kerryn Wise is a Senior Lecturer in Performing Arts at De Montfort University (DMU), affiliated with the School of Humanities and Performing Arts within the Faculty of Arts, Design and Humanities. She is a renowned dance artist and researcher specializing in the integration of digital technologies with performance, and co-leads Displace Studio, a Mixed Reality Performance Studio. Her work bridges academic research and artistic practice, with extensive national and international exhibition. Her research focuses on practice-based inquiry into dance and technology, particularly virtual reality (VR), 360 video, and volumetric capture. Key interests include embodiment in immersive environments, audience engagement, site-specific performance, and the intersection of live and digital media. She has developed innovative performances such as Dis_Place , Facades , and Replica , which combine live dance with immersive technologies to create multi-sensory experiences. The recent articles reflect a consistent trajectory in exploring how digital technologies transform performance and audience perception. Themes include kinaesthetic empathy, ethereal embodiment, spatial disorientation, and the emotional impact of photorealistic virtual performers. Her work often involves one-to-one audience experiences, emphasizing intimacy and agency within virtual spaces. The integration of sound, movement, and technology is central to her artistic and scholarly output. Questlab Digital Dance Artist, Studio Wayne McGregor, 2018-19 Dr Wise has successfully secured external funding from Arts Council England, The Space, and the University of Nottingham for projects including Dis_Place , Facades , and Replica , demonstrating strong grant acquisition and project leadership. She supervises postgraduate research students, including David Hughes as second supervisor, and contributes to academic discourse through conference presentations and public engagements. Her consultancy roles with Tom Dale Dance Company, Near Now, and the British Film Institute further extend her impact beyond academia. She co-leads Displace Studio, a dedicated space for developing mixed reality performance, and is affiliated with the Institute of Drama, Dance and Performance Studies and the Institute of Creative Technologies (IOCT) at DMU. These affiliations support interdisciplinary collaboration and innovation in digital performance.
Øyvind Brandtsegg is a Professor in the Department of Music at the Norwegian University of Science and Technology (NTNU), Faculty of Humanities. His work integrates music technology, sound art, and performance through innovative digital systems and artistic research. Research Interests: His primary research areas include digital signal processing , feedback systems , granular synthesis , convolution , artificial intelligence in music , and improvisation . He explores how technology enables new forms of musical expression, especially in live performance and sound installations. His projects often simulate natural processes or use AI to generate dynamic sonic environments. Recent Publications & Artistic Output Trends: Over the past few years, his work has focused on crossadaptive audio processing, real-time interaction systems, and immersive installations. Themes include environmental sound, mechanical music, and the limits of human-machine collaboration. His output spans scientific articles, software, compositions, performances, and exhibitions, reflecting a strong integration of research and artistic practice. Scientific Awards: No specific awards listed in the provided text. Advising and Grants: Brandtsegg supervises multiple doctoral and artistic research students, often in collaborative, interdisciplinary projects. He has led research initiatives such as the Crossadaptive Processing project and organized the Live Interfaces conference. He has received project funding for artistic research and technology development, though specific grants are not detailed. Labs and Teams: He is affiliated with the Trondheim EMP (Electroacoustic Music Performance) group and contributes to the GDSP (Global Digital Sound Processing) platform. His work is often collaborative, involving researchers and artists across institutions in Norway and internationally.
Juri Seo is an Associate Professor of Music at Princeton University, where she teaches composition. She is a Korean-born American composer and pianist known for her innovative approach to contemporary classical music that bridges historical forms with modern techniques. Her educational background includes a B.A. from Yonsei University in Korea and an M.M. and D.M.A. from the University of Illinois at Urbana-Champaign, where she studied with Reynold Tharp. Her dissertation focused on Jonathan Harvey's String Quartets (2013). Seo's research interests span Contemporary Music Composition, Counterpoint, Harmony, Just Intonation, Microtonality, Piano Composition, and the intersection of Ecology with Music. Her work explores "the continuum between timbre, harmony, and noise" while maintaining a deep connection to traditional Western classical forms. She is particularly passionate about counterpoint, which she describes as "a lost art" in contemporary composition. Her compositions demonstrate a unique synthesis of historical forms (like fugue and cantus firmus) with contemporary techniques including extended just intonation and electronics. A recurring theme in her recent work is ecology, with pieces like "Birds, Bees, Electric Fish" exploring the perceptual worlds of different organisms. She has pioneered performances with blindfolded audiences to heighten auditory awareness. Guggenheim Fellowship (2016) Goddard Lieberson Fellowship from American Academy of Arts and Letters (2013) Kate Neal Kinley Fellowship (2011) Otto Eckstein Fellowship from Tanglewood (2011) Koussevitzky Commission from the Library of Congress Copland House Residency Award Seo has received commissions from prestigious organizations including the Fromm Foundation, Barlow Endowment, Tanglewood Music Center, and the University of Illinois. She has been a composition fellow at Tanglewood, Bang on a Can, and SoundSCAPE festivals. Her debut album "Mostly Piano" was released by Innova Recordings in 2017, and her recent album "Obsolete Music" was released by New Amsterdam Records in June 2025. She leads an active creative life with numerous upcoming commissions through 2026, including works for So Percussion, the Grossman Ensemble, and the University of Illinois Percussion Studio. Her work with the JACK Quartet on pieces using extended just intonation has been particularly significant in her recent output.
Aura Satz is a Visiting Professor at the School of Arts & Humanities, Royal College of Art , with expertise in Critical Practice and Art & Curating. Her work spans film, sound, performance and sculpture with focus on distributed voice and listening strategies. Visiting Artist, School of the Arts Institute of Chicago (2021-2025) Lectured at London Consortium, Goldsmith's College and Slade School of Fine Art Research focuses on: History of sound technology and resistance to standardization Gender roles in WWII ballistic research and computing Emergency sirens as metaphor for societal alarm fatigue Interdisciplinary collaborations with astrophysics and medical research Recent article trends show: 2023-2025 works on warning systems and emergency sound Long-term exploration of sound notation and technological history Scientific Awards: CPH Dox NEW:VISION Award (2024) St. Moritz Art Film Festival Best Feature (2024) Shortlisted at multiple international festivals (2015-2025) Key collaborations include: Warning Research Centre at UCL Nuclear Consulting Group Harvard Centre for Astrophysics Research partnerships with EMPAC and Sonic Acts
Kimberley O'Neill serves as a Lecturer in Design-Communication Design at The Glasgow School of Art. Her practice encompasses visual arts, media arts, and cross-disciplinary methodologies, often exploring intersections between installation art, digital media, and conceptual frameworks. 2023 : Featured in Berwick Film Festival through Screentime exhibition and screening. 2019 : Presented solo exhibition 'Enigma Bodytech' and participated in Artists Moving Image Festival. 2018 : Coordinated 'Rough Music Workshop' and exhibited at Plymouth Arts Centre. 2017 : Showcased 'Circuits of Bad Conscience' and contributed book chapter 'Slippery Women'. 2016 : Participated in 'Conatus TV' and 'Line of Sight' group exhibition. 2015 : Collaborated on 'Nos Algae's' and 'Amygdala N.O.S' projects. Her research focuses on experimental visual practices that synthesize technology, environmental themes, and spatial interventions. Recent works like 'Screentime' (2023) and 'Porpoise Escape' (2017) demonstrate her interest in abstract narrative structures and digital-physical intersections. Collaborative projects such as 'Visualising the Rite' (2013) highlight educational methodologies that bridge traditional and contemporary art approaches. Exhibition activity spans diverse contexts including Edinburgh Art Festival (2016), South London Gallery (2015), and Glasgow's Tramway (2019). While specific awards and student mentorship data aren't provided, her extensive exhibition record indicates significant contributions to contemporary art practices through installations, video works, and participatory formats.
Neil Bruce is a Lecturer in Sound Design at the School of Digital Arts, Manchester Metropolitan University. With a PhD in Soundscapes and an MSc in Signal Processing, he bridges practice-led research with academic inquiry. Education: PhD in Soundscapes, MSc in Signal Processing, Dip Mus (Open) His research focuses on soundscapes, perception, and immersive audio, particularly in urban decay and liminal spaces. He explores how emerging technologies like VR/AR can enhance sonic storytelling and inclusivity in soundscape research. Recent publications and presentations highlight trends in ethical field recording, soundscape commodification, and inclusive methodologies like soundsitting. Collaborations with institutions like the University of the Arts London and EPSRC-funded projects underscore his interdisciplinary approach. Beyond academia, Bruce works with UK artists, performs as a guitarist, and hosts the Creativity Kickstarter podcast, authoring a book on creativity as a skill.
Ricardo Atienza Badel is an Associate Professor in the Department of Art and Media at Aalto University, Finland, specializing in the intersection of sound, space, and media practices. His research portfolio includes: Sound Art and Experimental Composition Acoustic Design for Emergency Vehicles Geolocated Sound Installations Spatial Audio and Auralization Phenomenological Sound Studies Media Art and Intermedia Practices Recent publications (2021-2025) reveal a consistent investigation into how sound shapes human experience across physical environments—from ambulance sirens to GPS-based artworks—and theoretical frameworks connecting sound, space, and embodiment. His collaborative work bridges artistic innovation with technical acoustic research, particularly in emergency vehicle sound design and immersive sonic environments.
Professor Craig Radford at the University of Auckland's Faculty of Science specializes in Marine Science with a focus on sensory systems and underwater soundscapes. Holding a PhD from Auckland , MSc from Canterbury , and BSc from Waikato , his research examines sensory physiology in fish and crustaceans, vocal communication mechanisms, and anthropogenic sound impacts. Current teaching includes Marine 702 Techniques in Marine Science and BioSci 334 - The Biology of Marine Organisms Postgraduate supervision topics span lateral line function, multisensory processing, ontogenetic hearing changes, and ecoacoustic indices His work on passive acoustic monitoring (149+ outputs) reveals trends in marine bioacoustics, particularly in shark hearing physiology , crustacean sound detection , and anthropogenic noise mitigation . Key collaborations exist with marine technologists and statisticians for developing machine learning boat classification systems and ecoacoustic biodiversity metrics. Research extends to auditory evoked potential thresholds across elasmobranchs, shark sleep electrophysiology , and global soundscape synthesis projects. Current projects include analyzing recreational boat noise impacts in Hauraki Gulf and investigating directional hearing mechanisms in sharks using advanced bioimaging techniques.
Joost Van Hoof is a University Professor at the Department of Systems Research within the Faculty of Spatial Management and Landscape Architecture at the University of Wrocław. His work focuses on age-friendly urban design, environmental sustainability, and public health in the built environment. He has led numerous cross-cultural studies on aging populations' needs across Europe and beyond. Research interests include: - Urban planning for aging populations - Sustainable built environments - Age-friendly city policy implementation - Questionnaire validation for demographic studies - GIS-based spatial analysis of urban aging dynamics - Biophilic design and neuroarchitecture Recent articles analyze age-friendliness in cities like The Hague, Bucharest, and Skopje, exploring typologies of older adults' environmental attitudes. Studies emphasize measurable design recommendations and intergenerational urban policies. Publications span journals like Building and Environment, Habitat International, and Social Science & Medicine. Collaborations include researchers from Australia, Romania, Russia, and North Macedonia. His work bridges urban planning, public health, and demographic research to create inclusive cities.
Patrick Langeslag is a Lecturer in Acoustic Branding at Osnabrück University of Applied Sciences since 2009, alongside his role as Managing Partner and co-founder of the audio consulting group. He holds a Master's in International Business from the University of Antwerp. His research focuses on the strategic use of sound in brand communication, encompassing areas like sound design in gaming, banking environments, and cross-platform branding. He has published widely in journals such as Die Bank and the Audio Branding Academy Yearbook , contributing to the theoretical and practical understanding of acoustic branding's impact on consumer behavior and brand identity. Education: Master of International Business (University of Antwerp) His research interests integrate sensory marketing, auditory identity systems, and the role of sound in shaping consumer perceptions. Key themes include the influence of sound design on brand awareness in digital and physical spaces, and the strategic application of acoustic elements across industries like finance and gaming. He has collaborated on studies analyzing auditory stimuli effects on purchase decisions and the development of cohesive brand soundscapes. His publications highlight a consistent focus on translating auditory branding principles into actionable strategies, with contributions to both academic discourse and industry applications. Notable works include analyses of acoustic branding in video games and banking sectors, emphasizing cross-contextual brand consistency.
