Edwin van der Heide is a part-time Lecturer and researcher at Leiden University, affiliated with the Leiden Institute of Advanced Computer Science (LIACS) and the Academy for Creative and Performing Arts (ACPA). His work bridges sound, space, and interaction through installations, performances, and environments. Key roles include: Co-head of ArtScience Interfaculty (Royal Conservatoire & Royal Academy of Art, The Hague) until 2016 Edgard Varèse Guest Professor at TU Berlin (2009) Invited artist at Le Fresnoy (France) and HKB Bern University of the Arts (2019) Research Interests: Spatial sound composition, audience interaction, interdisciplinary art, and the intersection of technology with auditory perception. Notable projects include Whispering Wind (permanent installation at Leiden University) and Spiral of Time (MACBA, Barcelona). Recent Articles & Exhibitions (2023–2024): Focus on large-scale installations like Pneumatic Sound Field and Spiral of Time , emphasizing public engagement and spatial acoustics. Awards: Witteveen+Bos Art+Technology Award (2009), Best Paper Award for BAI (摆) (2018). Grants & Labs: Collaborations with institutions like NCCA (Russia), MAXXI (Italy), and involvement in projects like Evolving Spark Network (global sound art initiatives).
Panpan Yang is a Lecturer in Arts and Visual Cultures of Modern China at the School of Arts, SOAS University of London. She joined SOAS in 2021 after completing her joint PhD at the University of Chicago under the direction of Wu Hung, Tom Gunning, W. J. T. Mitchell, Judith Zeitlin, and Dana Polan. Her interdisciplinary work bridges art history, screen studies, East Asian studies, and digital humanities, with a focus on innovative methodologies in art historical writing. Dr. Yang earned a dual BA from Peking University, double majoring in art and philosophy, followed by an MA from Tisch School of the Arts at NYU, and a PhD from the University of Chicago. During her undergraduate studies, she served as president of the Society of Dream of the Red Chamber Studies, which informed her secondary academic interest in Redology and the visual material world of the novel Hong lou meng. Panpan Yang's research explores how minor discourses can deterritorialize the terrains of both art history and screen studies. Her work demonstrates a multimethodological approach attentive to archival research, material practices, close visual analysis, computer-aided vision, and cross-cultural theorization. She is particularly interested in Chinese animation history, calligraphic imagination in contemporary art, and the intersections between traditional Chinese art forms and new media. Her publications reveal a consistent focus on Chinese visual culture across multiple media forms, with particular attention to animation, film, and calligraphy. Yang's work demonstrates how traditional Chinese art forms engage with contemporary digital media, creating new hybrid forms that challenge disciplinary boundaries. Her research shows a trajectory from historical analysis of Chinese animation to contemporary explorations of calligraphy in digital contexts, revealing the ongoing relevance of traditional Chinese aesthetics in modern media. Dr. Yang has received several prestigious awards for her scholarly and creative work: China's National Young Screenwriter Award Domitor Essay Award Dean's Distinguished Dissertation Award Nomination Honourable Mention from the Association for Chinese Animation Studies As a Principal Investigator, Dr. Yang leads the AHRC-funded research project "Stroke by Stroke: Calligraphic imagination in contemporary Chinese art and emergent media" (2023-25) with Shane McCausland. She was also a collaborating partner on the NEH-funded "Media Ecology Project." Her research has received additional support from the Getty Foundation and the Sino-British Fellowship Trust. At SOAS, she works closely with faculty and graduate students interested in Chinese arts and cultures, art theory, cinematic arts, and digital art history. Dr. Yang is currently developing innovative research at the intersection of traditional Chinese calligraphy and contemporary digital media through her AHRC-funded project. This work explores how calligraphic imagination manifests in contemporary art and emergent media contexts, creating new pathways for understanding Chinese cultural heritage in the digital age.
Enrique Sánchez Lansch is a Professor of Media Dramaturgy at the Institute for Music and Media at Robert Schumann University of Düsseldorf, appointed in 2018. Born in Gijón, northern Spain, and raised in Cologne, he has established himself as a prominent documentary filmmaker with a strong focus on music-related subjects. His educational background includes studies in music with a focus on singing, Romance languages, philosophy, and German studies. He completed his master's thesis on adaptation of literature into music films. After gaining professional experience in fictional series production, he pursued further studies in film and screenwriting at Columbia University and UCLA. Sánchez Lansch's research and creative interests center on the intersection of music and visual media. His work explores how musical experiences can be effectively translated to film, examining the relationship between sound and image. He has particular expertise in documenting musical institutions, historical contexts of music, and the educational aspects of musical performance. His approach combines rigorous historical research with innovative visual storytelling techniques that respect the integrity of musical performance while creating compelling cinematic narratives. His filmography reveals a consistent focus on music documentaries that bridge cultural and historical contexts. Early works focused on major musical institutions and figures, while more recent projects have expanded to examine the relationship between music and broader social, political, and cultural phenomena. His films consistently demonstrate a sophisticated understanding of both musical content and cinematic storytelling. His notable awards include: German Film Award German Documentary Film Award Bavarian Film Award German Critics' Award German Kinogilde Award Franz Hofer Prize Best Documentary Film at Los Angeles Latino International Film Festival Best Documentary Film at SEMINCI Festival de Valladolid Diapason d'Or Emmy nomination for "A Celebration for Gershwin" Sánchez Lansch has served as a mentor to young filmmakers, notably curating and presenting music short films by young talents for the Beethovenfest Bonn from 2006 to 2013. His professional activities extend beyond filmmaking to include teaching at institutions such as the dffb (German Film and Television Academy Berlin) and his current professorship at Robert Schumann University. He is an active member of both the German Film Academy and the European Film Academy, contributing to the broader film community through these organizations. As Professor of Media Dramaturgy, Sánchez Lansch contributes to the academic framework of the Institute for Music and Media, bringing his extensive professional experience to bear on the education of future media creators. His work bridges the gap between academic study and professional practice in the field of music-related visual media.
Professor Caroline Rae at Cardiff University is a leading scholar in 20th-century French music , with a focus on composers like Debussy, Messiaen, Jolivet, and Boulez. She also specializes in the musical writings of Alejo Carpentier and Franco-Latin American cultural interactions . Her research combines archival studies, performance practice, and pianism. Education : DPhil (Oxford), MA (Oxon), Dipl. Mus (Hanover), ARCM Her research projects include monographs on André Jolivet and Debussy’s Préludes , supported by the British Academy and AHRC . Recent publications span books on Carpentier, Debussy, and Stravinsky’s reception in France. As Co-Director of CFMR , she has organized international symposia with institutions like the Institut Français and Paul Sacher Foundation . Scientific awards include the Chevalier de l'Ordre des Arts et des Lettres (2018), Cardiff University Research Fellowship (2018-2019), and a French Government Scholarship (1982-1983). She has served on juries for the BBC Young Musician Competition and Wales International Piano Competition . As a pianist , she studied under Dame Fanny Waterman , Yvonne Loriod-Messiaen , and Karl-Heinz Kämmerling , and performs lecture-recitals linking her research. She has advised orchestras like the Philharmonia Orchestra and BBC National Orchestra of Wales on festival programming.
Jan Knippers is a Professor and Institute Director at the University of Stuttgart's Faculty of Architecture and Urban Planning , leading the Institute of Building Structures and Structural Design (ITKE) . He co-founded Knippers Helbig Advanced Engineering and established Jan Knippers Ingenieure in 2018 to focus on innovative fiber composite and timber structures. Key roles: Deputy Executive Director of Cluster of Excellence IntCDC , former Vice-Rector for Research (2019-2021), and Dean of Faculty of Architecture (2021-2023) Technical focus: Hybrid FRP-Timber systems, computational design, and biomimetic principles His projects include the 2024 Hybrid Flax Pavilion , Urbach Tower (2024), and BUGA Fiber Pavilion (2019). He contributes to European standardization committees and serves as 2024 Leverhulme Visiting Professor at University College London.
Jonathan Nangle is a Lecturer in Music Technology and Electro-Acoustic Composition at the Royal Irish Academy of Music. His work spans acoustic/electro-acoustic composition, live electronics, installations, and improvisation. Educated at Trinity College Dublin under Donnacha Dennehy, Rob Canning, and later privately with Kevin Volans, his music has been performed by ensembles like RTÉ National Symphony Orchestra and Crash Ensemble. Research interests include spatial music, interactive installations, and hybrid acoustic/digital forms. Notable works include Pause (Ergodos, 2017), Iridescent Cobalt Glow (2015), and our headlights blew softly... which earned a 2009 Rostrum commendation. Awards include dual Irish Rostrum representations (2009/2011) and the 2007 AIC/Music 21 Prize. Recordings span solo piano works to ensemble commissions, often integrating innovative electronic elements. His work has been broadcast internationally and choreographed for stage/film. Current roles include academic teaching and ongoing creative exploration at the intersection of technology and traditional composition.
Dr. Dan White is a Senior Lecturer in Musicology at the Department of Media, Humanities and the Arts, School of Arts and Humanities, University of Huddersfield. His research focuses on fantasy worldbuilding through music in film, theme parks, and transmedia contexts. As a member of the Centre for Research in Music and its Technologies, he explores cinematic sound design and audience emotional engagement with musical motifs. Specializes in fantasy film music analysis Expert in diegetic/non-diegetic sound dynamics Investigates nostalgia through musical cues Recent publications examine Harry Potter's musical universe, Jurassic Park's sonic environments, and Amazon's Rings of Power TV adaptations. His work contributes to understanding how music shapes immersive fictional worlds across multiple media platforms.
Dr Dongbin Wei is an Associate Professor at the School of Mechanical and Mechatronic Engineering , University of Technology Sydney (UTS), with a career spanning academia and industry. He holds a PhD in Materials Processing Engineering from the University of Science and Technology Beijing (2001) and academic appointments from 2005–2012 at the University of Wollongong (Research Fellow to Lecturer) and 2013–2017 at UTS (Senior Lecturer) before his promotion to Associate Professor in 2018. His research lies at the intersection of Mechanical Engineering , Manufacturing Engineering , and Materials Processing , focusing on: Ultrasonic Additive Manufacturing (UAM) Micro Metal Forming and Size Effects Tribology and Lubrication Numerical Simulations of Material Processing Composite Material Fabrication Key contributions include: Development of the Springback Path–Displacement Adjustment (SP-DA) method for stamping accuracy Advancements in femtosecond laser texturing for silicon wettability control Studies on nanolubrication in hot rolling Optimization of micro-deep drawing parameters He has secured competitive grants from the Australian Research Council (ARC) and industry partners like Weir Minerals Australia Ltd , including projects on: Revolutionizing mineral separation via additive manufacturing Super high-speed grinding technologies Mechanics of micro composite drill fabrication As a lead supervisor, he guided the 2022 thesis 'Creation and Validation of 3D Printable Mineral Separation Spiral' . His work bridges theoretical analysis, computational modeling (FEM/FEA), and practical validation in advanced manufacturing systems.
Dominic Thibault is an Assistant Professor at the Faculty of Music, Université de Montréal . His research-creation explores human-machine interaction in musical contexts, focusing on embodied cognition through electroacoustic compositions, audiovisual performances, and musical software development. Co-director, Laboratoire Formes·Ondes Active member, CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology) Research axis leader, Expanded Musical Practice (CIRMMT) Member, Québecor Millénium entrepreneurship committee Scientific committee member, ACFAS
Dr. Jules Rawlinson is a Senior Lecturer in Digital Design at the Reid School of Music , University of Edinburgh. He serves as Programme Director for the MSc Sound Design and contributes to MSc Design and Digital Media, ESALA undergraduate courses, and the Reid School's MSc Digital Composition and Performance. PhD in Composition (University of Edinburgh, 2011) MSc Sound Design (University of Edinburgh, 2006) BA Combined Arts (Sunderland University) Jules investigates audiovisual composition , live electronics , and interactive performance systems , blending machine learning , virtual environments , and corpus-based sound synthesis . His work explores non-linear narrative structures , graphical scores , and political sound-art through collaborations like Raw Green Rust and projects such as Lie Still My Sleepy Fortunes and w[i]nd . His 15 most recent outputs span audiovisual installations , generative sound systems , and collaborative performances , focusing on virtual reality , spectral transformation , and digital improvisation . Jules co-founded the LLEAPP network and has secured grants from EPSRC and New Media Scotland's Alt-w Fund . He supervises PhD students Tim Bentley, Hal Xu, Benjamin Cantil, and Liam Peacock, with works showcased at festivals including Sonorities , Edinburgh International Film Festival , and Edinburgh Festival Fringe . His Requiem for Edward Snowden was featured in BBC Radio 3's Hear and Now and selected for Creative Scotland's Made In Scotland Showcase.
Kerri Kotta is a Professor of Music Theory and Head of Musicology at the Estonian Academy of Music and Theatre. She holds a PhD in Musicology (2004) and an MA in Composition (1997) from the same institution. Her research focuses on music theory, tonal analysis, Estonian music history, and contemporary composition, with special expertise in the works of Eduard Tubin and Dmitri Shostakovich. She coordinates the International Eduard Tubin Society and edits the composer's complete works. Her research interests span music theory , compositional techniques , Estonian cultural heritage , and interdisciplinary performance studies . Recent publications explore modernism in Estonian art music, Beethoven's structural rhetoric, and socio-psychological dimensions of contemporary opera. Kotta received the Reet Neimar Criticism Award (2023) for her contributions to music scholarship. She leads the project How to share the ardor? Conveying complex musical structures through animated scores (2024-2025), funded by the Estonian Ministry of Culture. Administratively, she chairs the Estonian Musicological Society (2013–present) and the International Eduard Tubin Society (2015–present), while serving on the board of the Estonian Composers Union (2022–present).
Salome Voegelin is a Professor of Sound Art at the London College of Communication, University of the Arts London. She is a leading figure in sound studies, focusing on listening as a socio-political practice and the transversal potential of sound across disciplines. Her research explores the intersections of sound with politics, feminism, and pedagogy, and she leads projects like Listening across Disciplines II (LxDII), funded by the AHRC, which investigates listening as a research methodology. Education: PhD in Sound Art, Goldsmiths, University of London (2000–2004) BA (Hons) Fine Art Film and Video, Central Saint Martins (1994–1997) PGCertHE, Middlesex University Research Interests: Sound Studies, Sonic Pedagogy, Feminism, Interdisciplinary Knowledge Production, Sonic Methodologies Her work bridges artistic practice and theory, including collaborations with David Mollin and co-convening Points of Listening . Key books include Listening to Noise and Silence (2010), The Political Possibility of Sound (2018), and Sonic Possible Worlds (2021). She is a member of the Creative Research into Sound Arts Practice (CRiSAP) and leads the Sounding Knowledge Network. Recent articles and presentations highlight themes like transversal sound studies, the ethics of listening, and curatorial practices. Her projects emphasize participatory engagement and the socio-political dimensions of sound.
Teresa Faucon is an Associate Professor and HDR researcher at Sorbonne Nouvelle University (Paris 3), affiliated with the IRCAV research institute. She specializes in cinema and audiovisual aesthetics, montage theory, and postcolonial film studies. Her roles include director of the Cinema and Audiovisual Master's program (2021–2023), and leadership in disability and professional training initiatives. She co-founded key research groups like Indian Cinemas (2012), CREAViS (2015), and Exotismes en champ-contrechamp (2018), focusing on decolonial cinema and exoticism analysis. Her work bridges academic research with creative projects, including the interactive Maps of Film Analysis platform. Research interests span Indian and Southeast Asian cinemas, dance-cinema interactions, and experimental film forms. She has organized 7 international conferences and co-edited major texts like Chorégraphier le film (2019). Recent publications include studies on exoticism's sonic dimensions and non-European cinema. Her digital platform Les cartes de l'analyse de film innovates in nonlinear film analysis through heuristic maps. She co-directs the Formes filmiques and Cinémas en champ-contrechamp book series, promoting global cinema scholarship.
Stephen S. Hudson is an Assistant Professor of Music Theory at Occidental College. He holds a B.A. from the University of California, Davis, and a Ph.D. from Northwestern University. Appointed in 2022, he specializes in metal music studies and R&B/Soul harmony. Education: B.A., University of California, Davis; Ph.D., Northwestern University Hudson’s research focuses on embodied experiences of rhythm, timbre, and song form in metal music, as well as harmonic complexity in R&B and Soul. His work has been featured in Music Theory Spectrum , Metal Music Studies , and Current Musicology . Recent publications include articles on Drake’s harmonic loops and Meshuggah’s groove structures. He is authoring two books: Heaviness in Metal Music (Oxford University Press) and a study of Meshuggah’s riffs (Lever Press). As Vice President of the Pacific Southwest chapter of the American Musicological Society, he advocates for inclusive music theory pedagogy that extends beyond classical traditions. His teaching emphasizes tools for songwriters and producers. Hudson maintains an active interest in classical and baroque cello performance, reflecting his engagement with both historical and contemporary music practices.
Professor Annie Mahtani is a Professor of Electroacoustic Composition and Practice at the University of Birmingham's Department of Music. She holds a BMus (Hons), MA, MPhil, and PhD from the University of Birmingham and Birmingham City University. Her work focuses on electroacoustic music, acousmatic composition, multichannel audio, spatialisation, and field recordings, with significant contributions to site-specific installations and cross-disciplinary collaborations. She co-directs the SOUNDkitchen collective and serves on key boards such as the British ElectroAcoustic Network (BEAN) and the British Section of ISCM. Her research explores the sonic identity of environmental sounds, large-scale multichannel composition, and ambisonic audio techniques. As a performer with BEAST (Birmingham Electroacoustic Sound Theatre), she develops live acousmatic performances and soundwalks. Recent projects include Becoming Tree (an immersive audio retelling of a literary work) and Minimum Monument , performed at Birmingham Hippodrome. She actively collaborates with dance and theatre companies like Rosie Kay Dance Company. Professor Mahtani teaches undergraduate and postgraduate modules in electroacoustic composition and is involved in admissions and curriculum leadership. Her works have been performed globally in festivals like Klang! Électroacoustique and Sound + Environment, showcasing her innovative contributions to contemporary music and sound art.
