Monographs
Digital Oral Poetry: Voice and Subjectivity in Algorithmic Culture (De Gruyter, 2026)
Speech technologies of the digital age make everything speak – from voice assistants and GPS navigators to streaming media. The dissociation of voice and speech from the speaker and the situation of speaking engendered by this condition imbues the ages-old question of lyric theory “Who speaks?” with renewed salience. This book investigates digital oral poetry – an artform that explores the modes of oral speech facilitated and conditioned by digital technologies and digital culture, foregrounding the selves that are performed and constructed in the speaking act. Practices of digital oral poetry run across the boundaries between institutionally recognised forms of art and poetry, pop culture and participatory culture online. They may include poetry performed in synthesised or deep-faked voices, AI-generated performance poetry, intersections of poetry and ASMR videos or audioliterarymemes such as Autotune stories to name a few examples. Through a series of case studies, the book offers a (post-)phenomenological examination of the contemporary digitally-inflected forms of subjectivity as they manifest in digital oral poetry.
Participatory Sound Art: Technologies, Aesthetics, Politics (Palgrave Macmillan, 2023)
This book addresses a major gap in sound art scholarship: the role of audience participation. It offers a survey of participatory sound art from its origins in the historical avant-gardes to the non-institutionalized forms of sonic creativity in contemporary digital culture. In doing so, it proposes an innovative theoretical framework for analysing such phenomena, rooted in Pragmatist aesthetics, affordance theory and postcritique. Combining artwork analyses with qualitative studies, it focuses on three principal aspects of participatory sound art: the ways the materialities of the artworks facilitate and structure the participatory processes; the interplay of the creative agencies of the artists and the participants; and the postcritical approach to sound art’s politics, unfolding through the participants’ affective gestures. In considering these multiple dimensions, this book contributes to the growing fields of sound studies and participation studies, as well as to curatorial practice regarding sound art and participatory art.
Partizipatorische Klangkunst: Technologien, Ästhetiken, Politiken (Springer VS, 2026)
German translation of Participatory Sound Art.
Edited collections
Poetry in the Digital Age: An Interdisciplinary Handbook (De Gruyter, 2025)
Co-edited with Claudia Benthien and Henrik Wehmeier.
As a multifaceted and intermedial phenomenon, poetry in the digital age not only demands a rethinking and expansion of the traditional paradigms of literary studies but also attracts increasing attention from other humanities. This interdisciplinary handbook is thus addressed both to literary scholars and to the broadest academic audience interested in contemporary poetry research. It offers 50 contributions by an international collective of authors that highlight the diversity of contemporary poetry, examining it from a wide variety of complementing theoretical and methodological angles.
The handbook focuses on contemporary modes of poetry presentation that are often located beyond the book, e.g., on stages, in public spaces, as multi- as well as transmedia publications, or on digital platforms. Such intermedial poetic practices, which may supplement poetic language with elements borrowed from music, visual art, cinema, or theater and performance, are transforming the forms and functions of poetry. It four parts thus (1) adapt established concepts and parameters of poetry research to the digital age, (2) explore established genres and emerging formats, (3) introduce interdisciplinary perspectives and new research fields, and (4) engage in current debates.
Poetry, Music, and Sound Art: Recent Medial Correlations (De Gruyter, 2025)
Co-edited with Rebecka Dürr and Kira Henkel.
This book examines the evolving medial entanglements between poetry, music, and sound in the digital age, foregrounding the complex interrelations between textuality, vocality, and sonic materiality. Drawing on perspectives from literary sound studies, intermediality theory, and word and music studies, the contributors explore contemporary poetic practices that engage with music and sound beyond conventional musico-literary genres. The phenomena examined here range from recent transformations of traditional oral poetry and the art song to innovative intermedial formats such as poetry audiowalks and spoken music. The book highlights the impact of digital technologies on musico-poetic forms, tracing how contemporary practices challenge traditional genre boundaries and reconfigure listening as an integral component of poetic experience. By bridging historical perspectives with emerging sound cultures, this collection offers new insights into the mediality of poetry and its intersections with music and sound art.
Special journal issues
Sound in the (Post-)Soviet Realm. Special issue of Journal of Sonic Studies (2025)
The aspiration of this issue is to make the post-Soviet realm audible – not as a continuous, homogenous soundscape far too often conflated with Russia, but as a cacophony – decidedly not a symphony – of diverse cultures, identities, aesthetics, and political programs; to sound out both the connections that gave the Second World its identity against the First and Third ones and the contradictions that made it fall apart. The region’s political and cultural history is one of contradictions, holding many familiar dichotomies – of the East and the West, the progressive and the reactionary, the colonial and the emancipatory – in a superposition, a dissonant cluster defying harmonic resolution. (Post-)Soviet sound thus demands a mode of listening that is attuned to these contradictions and that attends to the region not as a monolithic soundscape but as a collection of idiosyncratic localities, each resonating their own sets of frequencies.
Sound and Participation. Special issue of SoundEffects journal (2020)
Co-edited with Iben Have.
The rising prominence of interactive media and technologies has brought about an increased scholarly interest in participatory phenomena. This issue of SoundEffects aims to put a sonic spin on participation studies and emphasize the dialogic and participatory aspects of auditory culture. Remaining a primary medium of human communication, sound carries with it an urgency to be heard and answered, offer-ing rich possibilities for participatory processes, whether technologically mediated or not.