“No returns for dislike” - How music videos and video art entered the living room in the 1980s

in Dreckmann, K. and Vomberg, E. (eds) (2022). More Than Illustrated Music: Hybridizations between Music Video, Art and Pop. New York: Bloomsbury. 

 - forthcoming - 

Hitting Puberty

in Semmerling, L. and Šimunović, D. (eds) (2021): Hitting Puberty: IMAI Zine. Düsseldorf: IMAI - Inter Media Art Institute.

Glas und Beton in Schwingungen

in Nachtigäller, R. and Fast, F. (eds) (2020): Glas and Beton: Manifestationen des Unmöglichen. Herford: Museum Marta Herford.

Luisteren na Pauline: De Missie van Deep Listening

in Metropolis M, No. 1, 2020.

Shhh...! In search of the White Cube’s soundtrack

in Weibel, P. (ed.) (2019). Sound Art. Sound as a Medium of Art. Cambridge, MA: MIT Press.

Wie der Klang den Glaskasten eroberte: Zur Ausstellbarkeit von Klangkunst

in Elben, G. (ed.) (2019). Marler Medienkunst-Preise 2018. Cologne: Wienand

Staging the Kinetic: How music automata sensitise audiences to sound art

in Organised Sound (2018). Volume 23, Issue 3.

Explorative Listening: A phenomenological approach to sounding artworks at museums

in Leonardo Electronic Almanac (2018). Volume 22, No. 3.

Sing a song: Gedurfde geluidskunst

in Metropolis M, No.5, 2017.

Samson Young: Hearing is a condition that we aspire to

in Metropolis M, No. 2, 2017.

What color is this sound?

on Metropolis M Website, November 12, 2015.

Ryoji Ikeda: micro | macro

in Kunstforum International (2015). Bd. 237.

Living Perspective: A phenomenological investigation of landscape in painting and cartography

in Gehring, U. and P. Weibel (eds) (2014). Mapping Spaces. Networks of Knowledge in 17th Century Landscape Painting. Munich: Hirmer.