As sound scholar Emily Thompson (2002) suggested, the control of sound is embedded in modern acoustical technologies and aural culture. In the process of sound production (recording and studio practice), sounds are typically captured and contained inside an insular cabled network system. And yet, sounds evade this carefully constructed control mechanism. As Brandon LaBelle (2018) hints at, sounds tend to spill over acoustic control to make social connections. A critical practice in the sonic realm therefore needs to consider and conceptualize the phenomenon of audio leakage. 

In this colloquium session, organized by Guest Professor Budhaditya Chattopadhyay, a group of artists and scholars share their perspectives on the socio-political agency that derives from leakages, considering various positions of intervention: medial, sociological, political, artistic, infrastructural, environmental, architectural, activist, and subversive, among others.

#sound #sonic arts #sound studies #sound recording #noise #media arts



Artistic/research presentations:
Bojana Knezevic, Budhaditya Chattopadhyay

Break (15 min.) 

Performative talks/lab:
Yati Durant, Franziska Windisch, David Helbich

Break (15 min.)  

Discussion, interactions

Audio Leakage live
19:00–21:00 @ HEK Basel
Evening of live performances at HEK Basel (right across the campus), with members of Audio Leakage Community along with other guests.


Audio Leakage Community (Budhaditya Chattopadhyay, Bojana Knežević, Franziska Windisch, David Helbich, Yati Durant).

Audio Leakage Community is an international group of artists and scholars who met as a result of an email leakage, coming from an open call. With an idea to transform the precariousness of rejection into a knowledge-producing context, in which margin of the margin becomes a point of attention and gathering of collective resistance, the group approaches the potentially productive provocation titled Audio Leakage from various positions of intervention (medial, performative, political, sociological, musical, artistic, infrastructural, architectural, and subversive, among others). The gathering develops into a corpus of knowledge disseminated in collaborative performances, public interventions, artworks, workshops, scholarly panels, and publications in artistic research expositions and peer-reviewed journals. Previous activities include a workshop at Berlin School of Sound (ACUD, Berlin) in July 2022, and a live performance at Akademie der Künste, Berlin as part of Soundings 2022. 

Readings & Materials
  • ​​Attali, Jacques (1984). Noise: The Political Economy of Music. Minneapolis, Minnesota: University of Minnesota Press.
  • Serres, Michel (2013). The Parasite. Minneapolis, Minnesota: University of Minnesota Press.
  • Judith, Kate (2021). “Leakage as resistance along Cooks River”. In: American Comparative Literature Association Annual Meeting: Leaky Ontologies, 8–11 April 2021.
  • Chion, Michel (1994). Audio-Vision: Sound on Screen. New York: Columbia University Press.
  • Chattopadhyay, B. (2021). Between the Headphones: Listening to the Practitioner. Newcastle upon Tyne: Cambridge Scholars Publishing.
  • Chattopadhyay, B. (2022). Sound Practices in the Global South: Co-listening to Resounding Plurilogues. London: Palgrave Macmillan.
  • Thompson, Emily Ann (2002). The soundscape of modernity: architectural acoustics and the culture of listening in America, 1900–1933. Cambridge, Mass: MIT Press.
  • LaBelle, Brandon (2018). Sonic Agency: Sound and Emergent Forms of Resistance. London: Goldsmiths Press.
  • Chapman, R. (1992). Selling the Sixties, The Pirates and Pop Music Radio. London: Routledge.
  • Danilo Mandic, Caterina Nirta, Andrea Pavoni, and Andreas Philippopoulos-Mihalopoulos (eds.) (2023), HEAR, Law and the Senses series. London: University of Westminster Press. (open access).
Artworks (preliminary list)