Dr. Michiel Kamp is Assistant Professor of Musicology at Utrecht University's Department of Media and Culture Studies within the Faculty of Humanities. He holds a PhD from the University of Cambridge (2015) and co-founded the Ludomusicology research group. His research employs hermeneutic and semiotic approaches to analyze video game music and related audiovisual media. Key interests include musical transmediality, ubiquitous music, phenomenologies of listening, participatory culture, sound synchronization, ecological psychology, musical affordances, ludomusicality, and the aesthetics of background music. Publications focus on phenomenological approaches to game music, hermeneutic analyses of interactive soundtracks, and theoretical frameworks for understanding musical meaning across media platforms. Recent work explores VR audio experiences and historical perspectives on musical interfaces. Dr. Kamp has organized numerous international conferences on video game music and edited foundational publications in ludomusicology. His monograph Four Ways of Hearing Video Game Music presents a comprehensive theoretical framework for game music analysis.
National Research Institute for Mathematics and Computer ScienceNetherlands
Wessel Reijers is a Postdoctoral Researcher at the Department of Media Studies, Paderborn University, Germany, with visiting scholarships at the Technion and the Robert Schuman Centre, European University Institute. Previously, he was a Max Weber Fellow at the European University Institute, a Research Associate in the ERC project "BlockchainGov" led by Dr. Primavera de Filippi, and a postdoctoral researcher at the University of Vienna. Reijers received his PhD in technology ethics from Dublin City University. His academic journey has spanned multiple European institutions, focusing consistently on the ethical implications of emerging technologies for society and citizenship. His research primarily explores how emerging technologies impact citizenship, with particular attention to social credit systems and their effects on civic virtue. He also investigates distributed governance models, analyzing both their potential to enhance democratic processes and their inherent risks. His work bridges philosophy, political theory, and technology studies, offering critical perspectives on how technological developments reshape societal structures. Recent publications demonstrate a growing focus on AI ethics, interpretability, and what he terms "Positive Luddism"—a critical yet constructive approach to technological development that emphasizes human flourishing while acknowledging technology's dangers. Reijers is the author of "Narrative and Technology Ethics" and co-editor of "Interpreting Technology." His upcoming book "Introduction to the Ethics of Emerging Technologies" (2025) further establishes him as a leading voice in technology ethics. His work has gained recognition in both academic and public spheres, with media appearances including a Deutschlandfunk interview on "Positive Luddism" (2024). Beyond academia, Reijers is a creative individual who writes fiction, composes and produces music (available on Soundcloud), and creates paintings. He is part of an international music collaboration called "Conditio Humana," demonstrating his commitment to interdisciplinary engagement between technology, ethics, and the arts.
Carlos Roos Muñoz is a Lecturer at the Academy of Creative and Performing Arts (ACPA) at Leiden University, specializing in interdisciplinary research at the intersection of art theory, metaphysics, and communication. He teaches courses in the Minor Music Studies and PRE-University Programme. Academic Focus: Phenomenology, Artistic Research, and Cross-disciplinary Case Studies Key Affiliation: Humanities Division at Leiden University His research explores art theories and practices across cultural contexts, employing phenomenological frameworks to analyze experiences in music, theatre, cinema, and visual arts. Recent publications address metaphysical communication models and critiques of global capitalism through performance studies. Scientific Awards: ENITS Grant (2011) for International Thai Studies Erasmus Mundus Doctorate Grant (2010) under the EM Action 2 - VECCEU program Education: BA in Art - Universidad Central de Venezuela MA in Philosophy of Art - Leiden University PhD in Creative and Performing Arts - Leiden University
Dr. Stacey Copeland is an Assistant Professor of Cultural Heritage & Identity at the University of Groningen within the Creative Industries Department of the Faculty of Arts. Her work bridges queer feminist media studies with sound studies, focusing on the politics of listening, podcasting, and audio archives. She holds a Ph.D. from Simon Fraser University (2022) and has been awarded SSHRC funding for her research on queer media histories. Education: Ph.D. in Communication (2022), Simon Fraser University MA in Communication & Culture (2017), Ryerson York Universities B.A. in Radio & Television Arts (2014), Toronto Metropolitan University Research Interests: Her work explores the intersections of sound, gender, and sexuality through radio/podcast studies, queer feminist production, and media archives. Notable projects include co-directing the Amplify Podcast Network and co-chairing the RAMP SIG at SCMS. Key Contributions: Over 15 publications since 2017, including work in Radio Journal and Canadian Journal of Communication . Her upcoming book Lavender Sounds (2025) examines queer feminist sound practices. Labs/Networks: Co-Director, Amplify Podcast Network (SSHRC-funded) Co-Chair, Radio, Audio Media & Podcasting SIG (SCMS) Founder of FemRadio (Toronto-based feminist radio collective) Grants & Collaborations: Involved in multiple SSHRC projects (e.g., Livable Soundscapes) and has produced award-winning podcasts like Missing and Murdered: Finding Cleo . Her work emphasizes interdisciplinary methods and public-facing scholarship.
Gabriel Paiuk is a composer, sound artist, pianist, and researcher at the Institute of Sonology, Royal Conservatoire in The Hague, Netherlands. His work explores the intersection of sound, technology, and perception, focusing on how auditory experiences are shaped by material, collective, and technical contexts. He earned a bachelor’s degree in Music from the Center for Advanced Studies in Contemporary Music in Buenos Aires (1975) and a master’s in Sonology (with distinction) from the Institute of Sonology, Royal Conservatoire in The Hague (NL). Paiuk defended his doctoral thesis *Mutable Audible: An Operative Ontology of the Sound Image* (2023) at Leiden University’s Academy of Creative and Performing Arts, challenging traditional notions of sound imagery through Gilbert Simondon’s philosophy. His research integrates sound studies, electronic music, and phenomenology, emphasizing the tactile and cultural dimensions of auditory engagement. He has collaborated with institutions like the Master of Scenography (HKU, Utrecht), Experimental Opera (Universidad Nacional de Tres de Febrero, Argentina), and presented work at the Amsterdam School for Cultural Analysis. His artistic creations have been featured on labels such as Another Timbre and Unsounds, and he served as resident composer for La Otra dance company in Argentina. Paiuk’s notable award includes the Gaudeamus Composition Prize (2006) for *Res Extensa*, a pioneering sound installation. His 2013 article in Organised Sound redefined timbre analysis through electronic media’s cultural and technical artifacts. His practice bridges composition, sound art, and theoretical inquiry, positioning sound as a dynamic node in human-technology relationships.
Susanna Lindberg is a Professor of Continental Philosophy at Leiden University and coordinates the Leiden Centre for Continental Philosophy (LCCP) . Her research spans continental philosophy, focusing on German Idealism, Phenomenology, Poststructuralism, and contemporary developments. Education: Not explicitly mentioned Research Interests: Technological impact on human existence, bio-technical existence theory, philosophical interpretations of "the end of the world", and critiques of Heidegger and Derrida Her recent work examines: Technology's role in reshaping philosophical concepts Ontological implications of digital environments Political ethics and hospitality beyond tolerance Ecological philosophy and techno-nature Scientific Awards: Not mentioned
Martijn Mulder is a Senior Lecturer and Researcher at the Erasmus School of History, Culture and Communication, Department of Media and Communication, Erasmus University Rotterdam. He simultaneously serves as research leader and senior lecturer at the 'Creating 010' research center within Willem de Kooning Academy, part of Rotterdam University of Applied Sciences. His academic work bridges theoretical research with practical applications in urban cultural development, particularly focusing on how music venues and festivals contribute to local society and urban vitality. Mulder completed his education in Leisure Science at Tilburg University (Netherlands) and Sheffield Hallam University (United Kingdom). His professional journey began in 2006 at the Leisure department of Willem de Kooning Academy, where he became research leader at the 'Creating 010' center in 2011. He commenced his PhD research in 2017 on live music experiences and ecologies under supervision of Prof. Susanne Janssen, Dr. Erik Hitters, and Dr. Paul Rutten. Mulder's research focuses on the intricate relationships within live music ecosystems, examining how local live music infrastructures contribute to value creation for venues, festivals, and urban communities. His work investigates the balance between permanent and temporary music infrastructure serving diverse audiences, and how to optimize live music experiences within their complete ecological context. Additional research interests include city attractiveness metrics, the value of cultural supply in urban development, leisure experience valuation, and user-centered approaches to leisure design. His work has practical applications for urban planners, cultural institutions, and event organizers seeking to enhance community engagement through cultural programming. Analysis of Mulder's recent publications reveals a cohesive research trajectory centered on live music ecosystems, with increasing sophistication in methodological approaches and theoretical frameworks. His work demonstrates a shift from descriptive studies of music experiences toward more complex analyses of industry dynamics, risk management, and value measurement. The 2024 publication on risk perception and trust relationships indicates growing attention to industry resilience in uncertain times, while earlier works established foundational measurement tools for understanding audience motivations and experiences. His research consistently bridges academic theory with practical industry applications, particularly through the NWO-funded Staging Popular Music project. Author of book "Leisure! Inleiding in de Vrijetijd" Co-author of Dutch national profile of Leisure Studies Juror for annual Dutch Event Awards Member of advisory committee Brabant C (investment fund for creative industries) Mulder's primary research funding comes from the NWO project "Staging Popular Music: sustainable live music ecologies for artists, music venues and cities," a significant collaboration between Erasmus University, Rotterdam University of Applied Sciences, the Dutch association of music venues and festivals (VNPF), and Mojo Concerts (part of Live Nation). Beyond this major project, he has secured research contracts with multiple Dutch cities and regions, the Rotterdam Festival Organisation, World Expo Milan 2015, and Museum Rotterdam, demonstrating the practical relevance and demand for his expertise in cultural and leisure studies. As research leader at 'Creating 010' center, Mulder works within a multidisciplinary team focused on urban development and cultural value creation. His doctoral research forms a critical component of the larger Staging Popular Music project, positioning him at the intersection of academic inquiry and practical industry application. The research center collaborates closely with cultural institutions, city governments, and event organizers to translate theoretical insights into actionable strategies for enhancing urban cultural vitality through music and leisure programming.
Dr. Anna Scott is a Canadian pianist-researcher and Assistant Professor at Leiden University's Academy of Creative and Performing Arts (ACPA) within the Humanities faculty. An active performer specializing in 19th-century musical performance practices, she bridges scholarly research with practical musicianship through practice-led approaches. Her research focuses on historical piano performance practices, particularly examining early recordings and their influence on contemporary interpretations of canonical classical music. Scott investigates radical alternatives to traditional performance approaches and explores the cultural-political significance of how we engage with classical music today. Her major project Romanticizing Brahms: Early Recordings and the Reconstruction of Brahmsian Identity has gained notable recognition, including being featured on BBC Radio 3's Private Passions program. Scott's recent publications and presentations reveal evolving interests in embodiment, alternative concert formats, interdisciplinary approaches connecting music with theater and peacebuilding, and the sensory dimensions of performance. Her work demonstrates increasing engagement with contemporary issues in performance practice while maintaining deep historical awareness. Inaugural Artist-in-Residence at University of Surrey (2022) Featured researcher on BBC Radio 3's Private Passions program Regular presenter at ACPA's Joint Research Days and 'In the Making' public sessions As a supervisor, Scott guides PhD candidates through practice-led research projects that integrate artistic performance with scholarly inquiry. Her students explore diverse topics including historical performance, radical alternatives to traditional concert formats, and interdisciplinary approaches to musical interpretation. The integration of performance as research methodology defines her supervisory approach, creating opportunities for students to develop both artistic and academic dimensions of their work. Scott maintains an active performance career alongside her academic work, with recordings that have been praised for their 'energy and wildness' in interpreting canonical repertoire. Her dual identity as performer and researcher exemplifies the practice-led research model central to ACPA's philosophy.
