Sound Studies and Sonic Arts - UdK Berlin

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Sound Studies and Sonic Arts - UdK Berlin

Master's program Sound Studies and Sonic Arts,
Berlin Career College at the Universität der Künst The sound artist Prof. Dr. Sabine Sanio, Dr. Julia H.

The international Master’s program Sound Studies and Sonic Arts (M.A.) is a three-year, low-residency, part-time postgraduate program is aimed at professionals working in the field of sound wanting to pursue a second degree with a focus on audio related theory and practice. The program serves to deepen audio related theoretical and practical skills, particularly in cultural studies, musicology, aesthetics, sound art, performance, architecture, design and media production. Daisuke Ishida, Jessica Ekomane and scholars Prof. Schröder and Jan Thoben are among the core faculty. The all English Sound Studies and Sonic Arts program also offers lectures from other internationally renown artists and researchers such as David Behrman, Nic Collins, Peter Cusack, Bill Fontana, Brandon LaBelle, Christina Kubisch, Jonathan Sterne, Barry Truax, and Salomé Voegelin. Cooperations with well-known Festivals und Institutions offer our students a wide rage of possibilities for artistic and academic exchange. Sound Studies and Sonic Arts is run by the Berlin University of the Art’s Berlin Career College, an institute that bundles the school’s efforts in continuing education. We maintain close ties with other UdK institutes and the Audio Communication Group of Technical University Berlin.

24/09/2026

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating University FLOATING BERLIN
Lilienthalstraße 32, Berlin

Zeliha Dogusan is a sound and visual artist from Istanbul, currently based in Berlin. Building on her background in instrumental music, electronic production, and visual art, she continues to incorporate varied visual and sonic approaches while exploring new experiments in multidisciplinary forms. Her practice spans listening practices, sonic archives, performance art, and interdisciplinary creation, anchored by an ongoing engagement with the politics and philosophy of sound. She integrates theoretical inquiry with embodied exploration, focusing on the relationship between sound, memory, archive, language, and the body.

Artık

Audiovisual Installation

The soil at this urban basin sits beneath and between sediment, sludge, the slow accumulation of what a city produces and cannot fully account for. This is a gut, the place where the technosphere encounters what it has made. Artık — a Turkish word meaning both “remainder” and “from now on” — listens to what is already happening within it, using soil microphones and microscopic cameras as instruments, letting the site’s own material generate its sound and image.
The work is driven by a cyclic feedback between nature and the unnatural: matter produced by infrastructure is taken up, read, and transformed by non-human processes not as subject matter, but as method. What grows here is a third nature, neither wild nor built. This activity reads its environment the way a system reads its own unresolved outputs. It doesn’t file them away but keeps transforming them, feeding back into new states of matter, sound, image, and the body that encounters them. Decomposition as recomposition. The past is actively digested, circulating into something unresolved and alive, in a loop with no clear beginning or end.

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating University FLOATING BERLIN
Lilienthalstraße 32, Berlin

Global Dystopia sound art biennial 2026
Exhibitions | Performances | Workshops | Discourse
25.09. - 17.10.26
HAUNT

24/09/2026

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating University FLOATING BERLIN
Lilienthalstraße 32, Berlin

Yuchin CHEN is a Taiwanese artist working across sound, video, writing, performance, and installation. Her practice explores narratives in various experimental contexts between personal, collective and mediated experiences. She is particularly interested in deconstructing and re-examining analogue and digital media, reflecting on the relationships between technology, sensory experience, and embodiment, and approaching listening as ways of connecting and opening up imagination.

To Break with the Circularity

Sound Installation
Mouth calls for the waters to fall upon the earth, mouth swallows all the waters that have risen into a great flood. The installation activates and intervenes in the rain retention basin through vocal practices of rain prayer, water rituals, mythologies and realities of drought and flood. Reflecting on climate control, computational models, and human vulnerability, the work calls forth traditions of negotiating with, adapting to, interpreting, and imagining water as ways of living with uncertain futures.

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating University FLOATING BERLIN
Lilienthalstraße 32, Berlin

Global Dystopia sound art biennial 2026
Exhibitions | Performances | Workshops | Discourse
25.09. - 17.10.26
HAUNT Flutgraben e.V. Berliner Medizinhistorisches Museum der Charité
www.dystopia.berlin

23/09/2026

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating University FLOATING BERLIN
Lilienthalstraße 32, Berlin

Vicente Yáñez is a Chilean artist and musician based in Berlin. His body of work ranges from music for contemporary dance, film and chamber music to sound installations, 3D virtual animated environments and Ambisonics.

His interests revolve around media and systems theory, building worlds that are fractured and recompose themselves through the experience of the witness.

His mixed-media, acousmatic and spatial sound works have been presented at Hošek Contemporary, MONOM, the Zeiss-Großplanetarium Berlin, the Cité des sciences Paris, among others. His research has been supported through residencies at EMS Stockholm, PiNA/LeSerre (Koper/Udine) and NOTAM Oslo, the latter funded by the EU and the Goethe-Institut.

camanchaca.

Mist generating piezo mechanism, pneumatic-propelled resonant pipe.

This work aims to uphold a space for a presence. But more than this, is a failure to become presence. The link between a distant/unclear sound source and an ethereal sculptural body made of mist, intends to bind an intermodal phenomenon as a sole gesture. The witness experiences these seemingly unrelated events, becoming part of this eerie equation, synthesizing both shape and form into a resonant memory.

The piece also rubs against fragments of the Andean imaginary, using pipes as resonant bodies; and mist, which folds into the deep gray morning landscape of the South American Pacific coastline.

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating University FLOATING BERLIN
Lilienthalstraße 32, Berlin

Global Dystopia sound art biennial 2026
Exhibitions | Performances | Workshops | Discourse
25.09. - 17.10.26
HAUNT Flutgraben e.V. Berliner Medizinhistorisches Museum der Charité
www.dystopia.berlin

23/09/2026

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating University FLOATING BERLIN
Lilienthalstraße 32, Berlin

Simon Hill is a French sound artist and engineer based between Berlin and Paris. His practice explores the relationships between humans, nature and technology through installation, instrument design, interactive systems, fixed-media composition and audio software creation. His work focuses on embodied interaction, playfulness, and intuitive exploration, treating technology as an organic, visceral extension of the body while questioning our fascination and addiction towards it.

“Hors-Sol” teleports listeners to a swarming airspace using live airplane data. Position, speed, altitude, and heading of planes at the location are streamed in real time and translated into sound. Each plane is given a voice and a place in space.

The work inhabits the access stairway as a multichannel sound installation, with speakers distributed along its length. Visitors experience the work on arrival and departure, as they descend into the basin or climb back toward the city.

The French hors-sol evokes life sustained without soil, floating somehow outside grounded realities.

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating University FLOATING BERLIN
Lilienthalstraße 32, Berlin

Global Dystopia sound art biennial 2026
Exhibitions | Performances | Workshops | Discourse
25.09. - 17.10.26
HAUNT Flutgraben e.V. Berliner Medizinhistorisches Museum der Charité
www.dystopia.berlin

22/09/2026

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating University FLOATING BERLIN
Lilienthalstraße 32, Berlin

Martina M. Yáñez is a Chilean sound artist and researcher. Her work focuses on interactions between nature and its technical constructions. By exploring both human and non-human perception, her work unfolds through the material and historical contexts of technology, using it as a central axis for thinking through large-scale planetary interactions between the organic and the mechanical.

Through live performances, listening devices, and sound installations, she calls for alternative ways of reconfiguring our biological, cultural, and historical environments.

Her work has been presented at festivals and biennales across the Latin American scene, as well as in galleries and media arts events in Europe, including Soundsabout Gallery, Berlinische Galerie, and PIF Camp Slovenia. Her writings have been published in sound and contemporary arts journals and magazines, including ((en))clave Sonora, Cuadernos de Arte, and Sul Ponticello.

Luftzeug

Luftzeug is a listening device designed to dialogue with the air and the skies. By installing a floating antenna in floating university, the piece wonders about the historical role of the air and sky as both natural mediums and warfare systems. Being in within the facilities of former Tempelhof Airport, Luftzeug proposes a form of listening to geopolitical tensions through different planetary surfaces.

Designed to be seen from above and heard from below, Luftzeug explores the blurred boundary between listening and monitoring, between earthy inhabitation and human control. Between ground, water and air.

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating University FLOATING BERLIN
Lilienthalstraße 32, Berlin

Global Dystopia sound art biennial 2026
Exhibitions | Performances | Workshops | Discourse
25.09. - 17.10.26
HAUNT Flutgraben e.V. Berliner Medizinhistorisches Museum der Charité
www.dystopia.berlin

22/09/2026

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating University FLOATING BERLIN
Lilienthalstraße 32, Berlin

Helen Hines
Helen Hines (b. 1994, Atlanta) is a Berlin-based artist working in sound, film, performance, and sculpture. Her practice is process-driven and tactile: built around decay, grief, and somatic inquiry. She has a background in existential philosophy at Yale University (’17) with a focus on what it means to live at the age of extinction risk. She works with materials that disintegrate and transform under their own will: clay, sound, soil, body, voice.

Her work has been presented at the Listening Biennial (Threads & Little Book of Yes, 2025), Hošek Contemporary (house is a body, body is a home, 2026), and was awarded Best in Show at Art Fluent’s OBSCURA (Inside the Birdhouse, 2025). Alongside her visual practice, Hines releases experimental music and sound under the alias Kėkė Søl.

Apocatastasis Votum

Fill a vessel with water and a wish. When the water is gone, the wish is freed.
Apocatastasis Votum is a nest of ceramic and hypertufa vessels on the dock of the Floating University’s retention pond, a body of water that is a hybrid toxic industrial runoff and protected eco-urban habitat. The vessels are malformed, unable to hold water. A central vessel feeds the others through a network of veins: oxygen and charcoal.
Apocatastasis is the heretical doctrine that everything will be restored — every wound healed, every corruption reversed. Clean water. The pond as it was. Votum is the offering left at the shrine before the miracle: a vow paid to a god who has not yet arrived. Together they hold the wish in a condition of permanent almost.
You are invited to bring your wish to the water.
—
On 25 September, 19:00, the sculpture is activated by eleven voices. Each has kept a small vessel through the full moon cycle, tending water and wish in the quiet. On the opening evening, we gather in voice.
Hand-thrown and sculpted ceramic, bone-dry clay, hypertufa, soil, silicone tubes, charcoal, gauze, rainwater, urban silt, twigs, twine and jute.

Floatopia
Duration: Sept. 25 to Oct. 4, Thu–Sun, 16:00–20:00 
Located at Floating U

20/09/2026

This is (not) the end – Sound Studies and Sonic Arts at the UdK | Panel Discussion | 20/09/2026 14:00-16:30 at Berliner Hörspielfestival Berlin

Moderator: Malte Giesen (AdK)
With Marcus Gammel (DLF), Prof. Daisuke Ishida (UdK), elisa visca , Martina M. Yáñez (students, UdK), Miriam Akkermann (TU Dortmund)

The “Sound Studies and Sonic Arts” master’s program at the Berlin University of the Arts (UdK) will cease to exist in its current form. We discuss why this represents a loss and what makes experimental sound worlds so compelling, while also learning about the forms in which the program might continue.

16/09/2026

SoundS at TiME Lab | 28.09.2026 | Fraunhofer HHI Berlin

Audiovisual pieces by students of the MA Sound Studies and Sonic Arts will be presented at the TiME Lab, continuing the collaboration between the Berlin University of the Arts (UdK Berlin) and the Fraunhofer Heinrich Hertz Institut.
Engaging with the TiME Lab’s high-resolution 180° video projection and wave field synthesis 3D sound system, eleven artists invite the audience to encounter a variety of immersive environments and artistic approaches.

The event presents the work developed within the courses “Immersive Environments” and “Immersive Audio” and brings together an ongoing exploration of different formats.
The pieces shown here mark a first stage in the process, leading towards the upcoming showcase at the Stiftung Planetarium Berlin in January.

Registration & Capacity
Due to the limited capacity of the space, each block is limited to 15–20 people. Registration in advance is required. Please register by emailing at [email protected]

Date & Time
Monday September 28th, 2026
18:00 | doors
18:15 | 1st screening
20:00 | 2nd screening

Location
TiME Lab | Fraunhofer HHI
Einsteinufer 37, 10587 Berlin

Tickets
Free admission with registration in advance by emailing [email protected]

Artists
Anaparn, Clay Hillenburg, daniel k, elisa visca, lise, Nnux, Pedro Mileu, Ruben Kotkamp + Aphex Redditor, Tom Varvill, Trevor Doherty, Zeliha Dogusan

Project Lead by
Prof. Daisuke Ishida & Martin Sulzer

Supported by
Sound Studies and Sonic Arts UdK Berlin & Fraunhofer HHI

31/07/2026

Signal to Noise | arkaodaBerlin | 30.07.2026

w/ G**o Kverndokk Helen Hines Vicente Yáñez

Thanks to everyone that joined us for this beautiful night of experimental sounds.

Sadly this was the last Signal to Noise event at Arkaoda as we have just learnt of their immanent closure. We’d like to thank the team at Arkaoda for providing such an amazing space for experimental sound over the years.

If there are any venues that would like to continue hosting experimental sounds from Sound Studies and Sonic Arts - get in touch!

All photos by thisismywork.online

28/07/2026

This Thursday Signal to Noise returns to arkaodaBerlin

Signal to Noise is an event series at Arkaoda that showcases the sounds emanating from the sound studies and sonic arts masters program at UDK as well as occasional guest performers from the wider experimental music and sound art community of Berlin.

Performing tonight:

Vicente Yáñez

Vicente Yáñez is a Chilean musician and sound artist based in Berlin. His recent work focuses on immersive media, sound installations, and 3D environments. His debut EP, YZEN, was released in 2025 on the Chilean label Sello 11:11.

Kėkė Søl

Helen Hines is a Berlin-based artist whose live practice centres on object-based sound, using synthesizers and material noise. Her sets move between dark ambient and granular texture, with experimental voice woven through.

G**o Kverndokk
G**o Kverndokk

The performance explores the idea of unfulfilled potential as a musical technique for improvisation. Exploring the tension created from the need for evolvement within a context where this is not possible. Leaving exhaustion as the only possible result. Performed through extended vocal techniques and long melodic phrases that push the limits of breath and vocal release.

€10 Entry on the door

Adresse

Lietzenburger Str. 45
Berlin
10789

Telefon

+493031852482

Webseite

http://www.udk-berlin.de/sounds

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