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Stephanie Loveless is a media artist whose research centres on practices of listening. She is senior lecturer in Arts, Director of the Center for Deep Listening at Rensselaer Polytechnic Institute, and editor of A Year of Deep Listening: 365 Text Scores for Pauline Oliveros. Tullis Rennie is a composer, improviser, recordist, and researcher in socially engaged sound practices. His creative work encompasses audio composition, installation, participative community projects, and live/improvised performances presented in over 20 countries. He is senior lecturer in Music at City St George’s, University of London. Morten Søndergaard is an internationally acclaimed curator and Associate Professor at Aalborg University, Denmark. He is the head curator at Momentum Biennial 2025 and founder of the conference series POM – Politics of the Machines. He has published on sound- and media art and curated exhibitions including ZKM, Eyebeam, and Roskilde. Freya Zinovieff is a sound artist, researcher, and curator. Freya's research covers the intersections of sound, violence, ethics, and activism. Freya holds a PhD from Simon Fraser University, a First-Class Honours degree from Cambridge School of Art at Anglia Ruskin University, and an MFA from the University of New South Wales, Sydney.
‘Situated Listening is a robust theoretical and methodological guide for building situated sonic knowledges. Through diverse and collaborative conversations and co-narratives, the volume offers new insights on the listening body, the sonic politics of place, space, and culture, and how human and technological biases inform what is heard and unheard.’ Milena Droumeva, Glenfraser Endowed Professor in Sound Studies, SFU ‘This book writes listening in collective but myriad lines that challenge us not to hear but to imagine within its plural and collaborative approach a future of infinite voices, in contradictory co-presence, without chapter breaks, making the indivisible simultaneity of sound heard.’ Salomé Voegelin, Professor of Sound, University of the Arts London ‘Spanning a range of cultural contexts and epistemic concerns, Situated Listening convincingly argues for greater critical engagement with listening. This includes an examination of the structural inequalities often impacting aurality as well as how listening itself may impose forms of harm. Through an emphasis on collaborative writing from a diversity of contributors, Situated Listening raises the volume on the importance of listening studies.’ Brandon LaBelle, Artistic Director, The Listening Biennial
