Dr Linda O Keeffe is a research led artist working and living in Scotland and has exhibited internationally with commissions from Europe, the UK, Brazil, Asia and the US. Her current body of practice is focused on the intersection of science & technology, ethics and communication, where she has produced a number of art works, published research papers and keynote presentations. In 2017 she was commissioned to develop a body of work for a touring exhibition title Sounds Like Her, the work, Hybrid Soundscapes I-IV has been shown in major UK art galleries from 2017 to 2020, and has been featured in publications exploring the role of women in sound. She is currently working on a project funded by Creative Scotland titled Evolving Ourselves with Unnatural Selection, a new collaborative project between artists and researchers that will explore and present some of the ethics and future implications of gene editing through a digital multi-arts approach.
Her work on gender inclusion in the sonic arts has led to the development of the organisation Women in Sound Women in Sound WISWOS, which has partnered with organisations in the UK, Latin America and recently Taiwan. WISWOS’s goal is to make visible women who work in the multitudinous areas of sound from music technology to sound art, sound and society, the politics of sound, and every area in between. It has created a number of events, workshops and commissioning opportunities for women around the world. Currently WISWOS is working with the Taiwanese organisation Ting Shuo Hear Say on a collaborative opportunity for UK and Taiwanese women working in sound and experimental music.
O Keeffe is also editor in Chief of the Interference Journal, a Journal of auditory cultures, now working on its 8th issue to be published in late 2021. Interference is an open access forum on the role of sound in cultural practices, providing a trans-disciplinary platform for the presentation of research and practice in areas such as acoustic ecology, sensory anthropology, sonic arts, musicology, technology studies and philosophy.
Recent works and publications include a sound art commission for Oxford Universities research group Post Colonial Ports, to be launched in July 2021, the publication of the book chapter Listening to Renewable Technologies in Sound, Media, Ecology, pub.2019, and working as the sound designer for the play Hidden, which was shortlisted for the Northern Soul Theatre Awards 2018. She released her album Silent Spring in 2019 with the label Flaming Pines, works from the album feature on BBC radio 3, and was broadcast and discussed n ‘The Wire’ on Adventures In Sound And Music hosted by Frances Morgan. Linda has researched and written extensively about sound and the social, sound and ecology and sensory perception and the arts. She has given a number of Keynote talks and performances on her research in the US, Asia and Europe. In 2017 she was commissioned to give a keynote performance at the Cibelo Concert Hall in Madrid based on her research on gender sound and performance titled My Voice is Still Not Heard.
Linda is open to supervising PhD students exploring sound in a variety of contexts from the arts to the social (including perception, gender, sensory studies, class), environmental (ecology, noise studies), performance and production. She is also keen to work with post doctoral researchers looking to advance the study of sound and the social and sound and gender theory.
I teach undergraduate courses in Art Practice and Artistic Research, Methods, Research and Context, and on elective courses, Drawn from the City. I also teach into post graduate courses in our MA in Contemporary Art Practice.
My research is situated within two fields: gender equality within the performing arts and music technology, and renewable energy and sustainable communities. I have published key texts, the two most important of which are published in the highly rated International Journal of Communications and the Qualitative Sociology Review. More recently, I have been accepted by Routledge to edit a book titled The Body in Sound, Music and Performance in 2021, and have been an invited keynote to several international events and symposiums on sound and the performing arts, gender and technology, and embodied ecological noise. My installation piece Hybrid Soundscapes I-IV is currently on tour in the UK and will appear at Gallery Oldham (December 2019– March 2020). My album Silent Spring, recently released through Farpoint Recordings, has been described as a: “meditation on human and natural sounds, new technologies, and our relationships with other species” in Toneshift, and in The Quietus as “doing something totally different, in collaging sound recordings to think about how the changes demanded by climate crisis will change our soundscape.” In 2017 I was commissioned by the curator Christine Eyene to develop a new work for the Irish Biennale EV&A, an immersive audio piece working with voices and designed soundscapes.