My work traces the intersections of sound, technology, and inclusive practice, guided by a transfeminist lens that foregrounds experimental music, gender and queer theory, and collective approaches to innovation. I am particularly interested in the social impact of research and innovation projects, working to embed gender equality, LGBTQIA+ inclusion, and community-centred methodologies into the development of new technologies and educational practices. My work draws on interdisciplinary methods across sound arts, critical research, and STEAM education, with a commitment to fostering accessible, ethical, and socially engaged outcomes.

Mapping the Entangled Rise of Anti-Gender Mobilisations and Democratic Backsliding Through Transfeminist STEAM Praxis

This project investigates the co-emergence of anti-gender and anti-feminist mobilisations alongside the erosion of democratic norms across Europe and the Americas. Adopting a transfeminist, STEAM-based approach, it fuses data science, digital arts, political theory, and feminist historiography to systematically uncover and historicise how anti-gender politics are mobilised as part of broader de-democratisation agendas. Using interdisciplinary and comparative case studies, the project offers both scholarly analysis and public-facing tools that sonify these entanglements, offering new methods for resisting reactionary narratives and imagining transfeminist futures.

Follow the project here.

Palaiologk, A., & Lee Ingleton. 2025. Future Needs.

Including Gender Criteria in Horizon Europe Proposals offers a practical yet reflective guide for weaving gender sensitivity into the fabric of research and innovation. Part A provides a detailed guide on the mandatory Gender Equality Plan (GEP) requirement for Horizon Europe funding applications. Part B: Gender Dimension in Research & Innovation Content, drawn from EU policy frameworks and grounded in the lived realities of unequal access to resources, reframes gender not as a box to tick, but as a lens to sharpen ethical, impactful inquiry. It explores how gender dynamics shape everything from research questions and methodologies to budgeting and dissemination, encouraging proposers to think beyond binaries and embrace intersectional approaches. Rooted in a vision of inclusive, socially responsive science, the guide invites applicants to design projects where gender equality is not an add-on, but a catalyst for relevance, excellence, and change.

Ingleton, H., Angus Carlyle & Cathy Lane. 2016. SGFA Zine CRiSAP. CC BY NC ND

The SGFA zine celebrates a growing network of people working within, through and beyond the fields of sound, feminism and gender who have contributed to the SGFA events of 2012 and 2014. Sound::Gender::Feminism::Activism was initially established as a research event focusing on the role of gender in sound-based arts and experimental musics, following on from the Her Noise: Feminisms and the Sonic symposium at London’s Tate Modern in May 2012. The aim was, and still is, to develop and expand upon dialogues and discourses related to feminism and sound as well as to form an international network of researchers, artists and practitioners working in these areas.

Contributions by; Alison Ballance, Amy Cunningham, Anat Ben-David, Andra McCartney & Sandra Gabriele, Ann Antidote, Annie Goh, Bonnie Jones, Christopher DeLaurenti, Claudia Firth & Lucia Farinati, Claudia Wegener, Freya Johnson Ross, Gayathri Khemadasa, INVASORIX, Iris Garrelfs, Jane Dickson, Johnny Pavlatos, Kersten Schroedinger, Laura Seddon, Marie Thompson, Mark Harris, Melanie Chilianis, Mindy Abovitz, Norah Lorway, Philip Cornett, Sarah Hardie, Sharon Gal, Siri Landgren, Tara Rodgers, Tripta Chandola, Victoria Gray and Virginia Kennard & Emi Pogoni.

This comprehensive guide supports users of the EqPay4all Virtual Think Tank platform, designed to promote gender-equal pay and inclusive employment practices across Europe. Developed as part of an Erasmus+ project, the manual offers step-by-step instructions for navigating the Moodle-based learning environment, participating in activities, accessing resources, and contributing to discussions. It is tailored for educators, mentors, and learners involved in equality-driven initiatives and has been translated into five languages to ensure broad accessibility and impact.

Published byEqPay4all, 2025

Download English, Greek, German, Latvian, Polish

DYCP Arts Council England, 2022

Dancing With Toots Benedicta is an experimental sound work that explores themes of longing, belonging, and dispossession through the lens of personal and cultural memory. Inspired by the life of my maternal grandmother, Toots Benedicta, who emigrated from Sri Lanka to Australia in the 1950s, the piece weaves together sonic fragments to create a meditative narrative of love, loss, and ancestral connection.

The project employs a practice-led research approach, combining ethnographic exploration with experimental sound composition. It utilizes archival materials, field recordings, and digital manipulation to construct a sonic tapestry that reflects the complexities of diaspora and memory.

Diss, City St George's, University of London, 2015

The doctoral research, Composing Paradoxes: Feminist Process in Sound Arts and Experimental Musics explores how socio-political differences and lived experiences of gender, sexuality, race and ethnicity are constructed, negotiated, and performed within experimental music and sound art practices. Drawing on sound studies, queer-feminist and critical race theory, the research critically engages with the social and material conditions that shape sonic production. Combining ethnographic methods, archival research, and practice-led inquiry, the thesis highlights how marginalised identities challenge dominant narratives in experimental music. The project contributes new frameworks for understanding listening and performance, supporting greater inclusion within sound practices.

Widely accessed and cited, the thesis has influenced curatorial, educational, and scholarly work across sound studies and gender research.
view download statistics

Contemporary Music Review, Vol. 35, Issue 1, 2016

Read the article

This article investigates how gendered, racialised, and sexualised norms are embedded within foundational audio-technical concepts like pitch and timbre. Through a queer-feminist lens, it critiques the historical alignment of sonic purity with disembodiment and whiteness. The study culminates in an analysis of Reverse Karaoke: Automatic Music Tent (Gordon & Koether, 2005) as a performative site that reclaims sonic agency and destabilises dominant listening practices.

Employing critical historiography, performance analysis, and queer-feminist sound theory, the article contributes to ongoing debates in gender, music technology, and sound studies. Recalibrating Fundamentals of Discipline and Desire Through the Automatic Music Tent has been cited across key works addressing gender, technology, and sound, including by Born & Devine (2020), Frid (2019), Sofer (2017; 2022), Bosma (2016), Thompson (2016), and Wetmore (2022), reflecting its influence on feminist, queer, and inclusive approaches to music and sonic practice.

Women and Music: A Journal of Gender and Culture, Vol. 20, 2016, pp.77-87

Read the article

Sounding Out Parameters of Intimate Publics explores archival practices as forms of resistance, centring the Her Noise Archive by Neset & Dzuverovic and Sonia Boyce's Devotional Series as queer-feminist gestures within experimental music and sound art. Guided by Lauren Berlant's notion of the “intimate public,” the article listens for how non-dominant sonic practices conjure alternative modes of belonging, whilst introducing the “juxtapolitical”, a stance that resists normative power while remaining deeply entangled within the political. Through the voices of Berlant, Stuart Hall, and Paul Gilroy, the article weaves queer-feminist historiography, critical race and cultural theory, and archival analysis to consider how sound, performance, and listening become acts of witnessing and world-making.

Reflections on Process in Sound, Vol. 1, 2012, pp.44-51

Read the article

Her Noise: Identifying Feminist Strategies explores the process by which feminist politics informed the development of Her Noise, a project that commissioned installations and performances by individual artists and collaboratively developed an archive of experimental and sound-based arts and musics with a focus on gender. The paper traces the politics that informed and influenced the project, considered as an artwork in itself, by analysing the ambiguous foundations encapsulated in the title Her Noise through Joan W. Scott's understanding of the paradoxical nature of sexual difference as discursively produced and productive of change.

2025 - EqPay4all LTTA - International Integration Center Feniks | Rzeszow Poland

2022 - Here, now, then, there - Two-day listening workshop | How Will You Ascertain Time project | Savvy Contemporary | Berlin

2021 - Now, How You Sound - Workshop on the politics of voice and listening | From the Margins: Global Perspectives on LGBTQ+ Experiences | National University Ireland Maynooth

2020 - Challenging Rules of Engagement - Guest Lecture for The Urgency of The Arts | School of Arts & Humanities | RCA London

2019 - The Protocol is Political - SGFA | Chinretsukan Gallery | Tokyo University of the Arts | Tokyo

2019 -Gender Panic Workshop Series - Safe Place International | FAC | Communitisim | Athens GR

2017 - AMOQA - Thessaloniki Biennale | Macedonian Museum of Contemporary Art | GR

2017 - Resistance without Presupposition - Royal College of Art | London UK

2016 - LCMF Panel Chair - Pauline Oliveros, Morton Subotnic, Ellen Fullman | London UK

2016 - Gender and Music Technology Debate - City University | London UK

2016 - Aurality - Royal School of Speech & Drama | London UK

2016 - Memory & Perception - Keynote Panel Presentation | TECHNE | London UK

2015 - SGFA - Royal College of Speech & Drama | London UK

2015 - Feminist Composition as Social Event - Sound Acts | KET | Athens Greece

2015 - PERLIN NOISE & NEWGenNow Cross Event - The White Building | London UK

2015 - Gender and the Archive - University of Roehampton | London UK

2014 - Gender, Education, Creativity-Digital Music & Sound Art - NIME 2014 | UK

2014 - Feminism, Live Art, and the Archive - LADA | Queen Mary University | London

2014 - Curating Sound Art Practices - Goldsmiths University & Courtauld Institute | UK

2014 - Travels Through the Her Noise Archive - Artes Mundai | Swansea | Wales | UK

2013 - Intimate Publics in the Her Noise Archive - FTM Conference | New York USA

2013 - Paradoxical Publics - Vocal Folds: Her Noise Symposium | Museum of Contemporary Art | Oslo Norway

2012 - Temporal Drag of Reverse Karaoke: Automatic Music Tent - Extreme Rituals | Arnolfini Bristol UK

2012 - Temporal Crossings: Reverse Karaoke: Automatic Music Tent | Supersonic Music Festival | Birmingham UK

2012 - Sound Arts Practice vs. Sound Arts Research | Supersonix | Goethe Institute | London UK

2012 - Her Noise: Identifying Feminist Strategies - SGFA | UAL | London UK

2011 - The Her Noise Archive: Transatlantic Dialogues in the 21st Century - Women and the Arts: Dialogues in Female Creativity in the U.S. and Beyond | University of Lisbon | Portugal

The OCTOPHONIA Curriculum is a multidisciplinary STEAM programme that blends sound arts, technology, engineering, and ecology, focusing on multi-channel and immersive audio experiences. It explores AI-driven soundscapes, algorithmic composition, and interactive audio systems, while also integrating concepts from acoustic ecology, eco-acoustics, and environmental sound storytelling. The curriculum covers human-computer interaction through motion-sensitive sound design and biofeedback, and delves into spatial audio for mixed reality (XR) environments, including VR and AR. Designed for young adults, it provides hands-on workshops and projects, offering a comprehensive exploration of the creative, technical, and ecological aspects of immersive sound.

Freq Club adopts a STEAM-based approach, with an emphasis on practical, hands-on experimentation and collaboration. At the core of Freq Club is the investigation of how various frequencies—whether generated through traditional instruments, voice, or digital platforms like SuperCollider and Max/MSP—interact with human perception and the physical environment. The project explores key concepts in acoustics and psychoacoustics, including frequency ranges, harmonic relationships, auditory masking, and sound localization. By using these scientific principles, the research informs the creation of new sound compositions and performance techniques that engage listeners both scientifically and emotionally.