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Sally Rodgers

Education and Experience

Sally is a professional sound designer and graduate of the St Andrews MLitt (Poetry) programme. Her research brings together her twin passions, poetry and music, and considers the impact of technology-led abstraction in both oral and musical forms. Other research interests include the auditory imagination and poetic manifestos.

Recent works include:

2012: The Truth we Know/ 120 Hours for John Cage/ The John Cage Trust, New York, Sept 2012. An audio work constructed from found sounds and by utilising chance operations. Created in homage to Cage’s ‘Radio Music’ for this major broadcast event celebrating the John Cage Centennial in 2012.

2012: Nano/ Pixel Palace/ BasicFM / Broadcast of International sound art. A sound work that considers the diachronic miniaturisation of computing technologies using sonic archeology techniques and oral testimony from three generations of one family.

2012 – Maud/ Electrifying Literature: Affordances and Constraints/ Electronic Literature Organization, International Media Art Exhibition and Conference, West Virginia, US (June 20-23, 2012). Based on Tennyson's dramatic poem, “Maud,” is an audio/visual work which links text, sound and image by means of algorithmic translation and seeks to reconnect text and technology for receivers in the digital age.

2012 - Discrete Machines – Cold Genius. Inspired by a famous scene in the poet John Drydon’s semi-opera of 1684 “King Arthur or, the British Worthy” the score, by Henry Purcell, is played using spectral freezing techniques to elongate the temporal domains leaving only ghosts of the original.

Sally Rogers



PhD student:
Modern Poetics/Music