Sound artworks by:

Alvaro G Diaz-Rodriguez, Fabio Fabbri, Graciela Martínez Matias, Hanna Slattne, Ivo Louro, Jason Murphy, Joana Moher, Jorge Filipe Pinto Ramos, Luís Antero, Luís Luzia, Magdalena Hart, Markus Hetheier, Sara Pinheiro, Yasmine Moradalizadeh.

»» Booklet (click here to download)««


Listening room

listen with eyes closed, by Luís Antero

What is the relationship of blind people with sound? Is the soundscape of places a way to recognize them? And if the soundscape has changed, can blind people find their way into space with the same ease? What is sound to them? And what is their relationship with the soundscape and with the memory it carries?

Starting from sound recordings with a person who at one point lost his sight, we go in search of these and other issues, always with memory (sound, visual, individual, collective…) as a guide and support.

We start from scratch and go in search of answers and paths that may surprise us, with the necessary sensitivity to map a city through the ears and listening of this protagonist.

Keywords: field recordings, binaural, soundscape, memory, city, blind people, society

Luís Antero is sound artist. He has a degree in Artistic Studies and a postgraduate degree in Portuguese Cultural, Traditional and Popular Heritage. Since 2008 he develops an ongoing project in collecting the immaterial sound heritage of several areas of Portugal, through field recordings, that can be found at and

A Walk 1, by Markus Hetheier

A Walk 1 is a sonic representation of my lockdown walks in South Manchester, UK. I used field recordings of me walking through the local Alexandra Park and birdsong. I then mixed these field recordings with improvised synthetic sounds, invited my friend and fellow sound artist and electronic music producer Hervé and we improvised the music together. I then sat down and edited the recording and crafted this track as a celebration of more improvisation and collaboration in sound art and electronic music.

released January 29, 2021

Written and produced by Markus Hetheier and Hervé Girardin.

Edited and mixed by Markus Hetheier.

Mastered by Darren Withaker.

Artwork by Luca Shaw.

Keywords: soundwalks, field recordings, sound art, electronic music, psychogeography

Listening instructions for the audience if needed:

Close your eyes, listen and imagine you’re on a walk through your neighbourhood, a local park, nature, whatever comes to mind. Let the music take you on a journey, notice which thoughts and feelings arise and accept them. Reflect on how this sonic experience made you feel different, relax.

Markus Hetheier is an electronic music producer, sound artist and researcher. When wearing his electronic music hat, he is performing under his stage name Industries that links the post-industrial past of his German hometown to Manchester. His music explores and subverts musical structures and ranges from field recordings, distorted sounds to harmonic melodies and large beats. As sound artist he has an interest in soundwalks and field recordings and collaborates across disciplines and media. He recently started his practice-led PhD at the Manchester Metropolitan University where he is working on a sound and  media project which will explore the relationship between the self and Manchester through soundmaps and psychogeography.

The Cave – Immersive Audio Story, by Hanna Slattne

‘The Cave’ is an immersive audio story/experience developed as part of ‘Worldbuilders’ PhD project creating work for and with people living with Parkinson’s disease. Within the audio-story  motor imagery and sensory prompts are embedded to stimulate an embodied and subjectively felt sense of self. The listener is invited into the immersive world as themselves and to co-create an environment through which they walk whilst listening to a story within the story. An internal narrator’s voice is interlaced with rhythmic audio cues, footsteps, binaural and ambisonic recorded sounds, engaging the participant’s sense of proprioception, interoception whilst transporting them through story.

Keywords: Immersive Audio,  Arts&Health,  Storytelling,  Embodied Self,  Proprioception

Hanna Slättne is a Swedish freelance dramaturg, researcher, theatre-maker and facilitator based in UK/Ireland.  Her PhD research focus on the dramaturgy of immersive audio stories for people living with Parkinson’s disease, at the Sonic Arts Research Centre, Queen’s University Belfast. Her professional work spans across live performance, XR and immersive audio and in facilitating interdisciplinary and international artists development programs. In 2016 she received the Kenneth Tynan Award for Excellence in Dramaturgy and in 2017 an Elliot Hayes Award special commendation, for her work on the immersive audio play Reassembled Slightly Askew by Shannon Yee.

Paysage, by Jorge Filipe Pinto Ramos

Dennis Smalley (b. 1946) defines source bonding as the natural tendency to relate sounds to supposed sources and causes and to relate sounds to each other because they appear to have shared or associated origins. Thus, bonding play is an inherent perceptual activity.

Consequently, I began to rethink how and what to think about ‘sound’ and its behaviour, and most importantly, to hear ‘sound’ differently. This self-reflection on my sonic somatic knowledge led to a broader perspective on what I, as a composer and researcher, should consider being sound as music. Hence, I wrote Paysage, a soundscape piece based on the processing of the sounds that surrounded me during the writing process. This effect was enhanced by the imposed limitations during confinement, which meant that I had to share the same house to work and to live in, which made me realise how musical sound is constantly all around us.

Special thanks to Claire Rocha for providing some audio samples, and to Chris Arasin for the art that represents this project.

Keywords: acousmatic, electroacoustic, psychoacoustic, field recording, headphones

Jorge Ramos (b. 1995) is a Portuguese composer, performer and researcher. In 2020 he won the 1st Prize at SPA/Antena 2 9th Edition 2020 Composition Prize with the work Point of Departure for symphony orchestra. Currently, he is conducting his research as a Doctoral Student at the Royal College of Music. He is funded by the Calouste Gulbenkian Foundation the RCM. For the 2021-2022 academic year he is also the Student Representative of the Executive Committee at The ACTOR Project (CAN) and both a Graduate Teaching Assistant and the Composition Doctoral Representative at the RCM.

Cielo, by Magdalena Hart

Cielo (from latín caelum; from caelum tangi: being – touched – hurt from the ray) is an interactive installation that gives sound to the colour spectrum visible at a specific location during the solar transition. The various nuances of colour are analyzed and translated into sound, in order to create a synaethetic experience a phenomenon described as an “involuntary psychological mechanism by which two sensations are simultaneously triggered by the same stimulus” (Gage, 1999). The relation between the colours analyzed and the sound designed were founded upon sensory perception, rather than mathematical structure ( c = f λ ), creating a link between the audio and the visual based on a personal nature of the correlations, inspired by the colour theory established by Albert Munsell in 1905 and the emotional wheel by Robert Plutchik in 1980.

The piece was developed in collaboration with Nicolás Dell’Acqua.

Keywords: creativecoding, tecnologicalnature, sounddesign, opencv, processing

Magdalena Hart received her Masters degree in Audiovisual Innovation and Interactive Environments at BAU,  Barcelona in 2019. She is a digital artist and interactive installation designer from UK / Uruguay. In her practice she uses technology as a means to integrate nature into the digital age alongside the collective Akyute. Together they combine interactive experiences, audiovisual arts and generative sound.

Forest Waves, by Luís Luzia

‘Forest Waves’ is a sound installation which aims to communicate the environmental crisis related to the degradation of the Portuguese native forest.

The installation will use two types of sound structures, soundscapes captured both from native and introduced forests, and sonifications translated from temporal data related to different forest parameters. While sonifications will take advantage of sound design techniques to illustrate changes in the ecological data, the soundscapes from indigenous forests will be gradually swaped by the introduced forest one’s, showing the drastic changes in the surrounding sound environment.

Keywords: Ecological sound art, soundscape composition, data sonification.

Luís Luzia is a twenty-three-year-old multidisciplinary artist based in Porto, Portugal. With a background in both biology and multimedia, he aims to explore and discover new ways to express his passion for the natural world and desire to preserve it, developing sound installations, soundscape compositions and data sonifications to deliver his environmental message.

commotion, by Sara Pinheiro

“commotion” is a state of confused and noisy disturbance in the shape of a 8 minute fixed-media composition originally for 4 channels. It iexplored the principles of minimalist music, but through the usage of field recordings and sound processing. 

Sara Pinheiro (1985) is a sound-maker.For film and video-art, she does sound recording, editing, foley and mixing. In her solo practice, she makes acousmatic pieces, usually for multichannel performances, radio broadcasts or installations. She graduated in Cinema (Lisbon, 2008) and holds a Master of Music in Sonology (The Hague, 2012), where she is a guest lecturer. She has been part of the teaching committee at CAS – FAMU since 2013. Her academic work is practice-based research under the name of “Acousmatic Foley”. She is currently a PhD student at The School of Music and Media, in the Bangor University (Uk), under the Parry Williams scholarship.

Eulogy for a Sound, by Jason Murphy

Fog signals are used to navigate vessels to safe harbours in poor visibility.  The advent of GPS technology has rendered their function largely obsolete. In January 2011, Irish fog signals were switched off. This short audio piece examines the role the sound of fog signals played in the lives of the people living in their ear shot. It explores sound, place and memory.

Keywords: soundscape; memory; community; home

Jason Murphy is an Irish audio feature producer and lecturer in media at the American University in Bulgaria. His documentary work for RTE has won several awards including the 2017 Prix Italia.

O espaço é para o lugar, o mesmo que se torna a palavra quando falada, by Yasmine Moradalizadeh

Built in 1947, Bairro de S. Vicente de Paulo, located in Porto, Portugal, emerged as a space from the marginalized segregation of social classes and the overcrowded city center, this was still a place of family memories.

Falling into the usual repetitive destruction/abandonment cycle owned by the Porto City Hall, Bairro S. Vicente de Paulo was destroyed in 2005 with the promise of a quick improvement that never happened. The project addresses this political and unethical behavior close by the ex-habitants, by sharing their stories and memories on an experimental documentary approach.

Captured by ZOOM H4N PRO HANDY RECORDER, edited in Audacity

Sound capture and editing by Yasmine Moradalizadeh

Keywords: Memory, Space, Urban memory, Politics

Yasmine Leal Moradalizadeh, a Portuguese-Iranian multimedia artist, born in 1999, in Porto, Portugal. Degree in Fine Arts – Multimedia at the Faculty of Fine Arts of the University of Porto (2017-2021). In the individual practice, develops and addresses the themes of identity, family memory, and urban memory, in an exercise attentive to its socio-political conditions. In 2019, together with Beatriz Sarmento, founded the SEM-FIM collective. An artistic collective that explores performance matters, as well as image and video in the pedagogical field.

Ruah, by Fabio Fabbri

Two-channel work for fixed media. The “breath” in English, or “ruah” in Hebrew, or “qi” in Chinese, or “pneuma” in Greek, is the energy that gives life, the creative energy, but it is also music. Contrary to what one might think, it is not classifiable with absolute uniqueness as a nodal sound: although in fact, a noise nature may be evident, it is actually in effect a channeled sound. Blowing the trumpet sound, it is sufficient to try to perform a long breath by hinting a scale whistled to realize it. Blowing the trumpet face of this sound object onto the trumpet of a trumpet becomes even more evident: we can indeed perceive the heights proper to the true fundamentals of the instrument! In the present acousmatic piece phonemes of the human voice and trumpet sounds interact (with techniques of crossed synthesis and not only) in a path marked by multiple orders of subrogation aimed at highlighting the multiple affinities between singing and brass playing: the human voice is the result of vibration, and the trumpet has its voice.

Keywords: Acousmatic Visible Invisible Vibration Voice

Fabio Fabbri, second level academic qualification cum laude with highest marks and mention of honour at Conservatorio “G.Puccini” in La Spezia, Italy as well as at the Hodgson School in Athens (Atlanta) his personal formation. His works have been executed at the Festivals Nuovi orizzonti sonori, New York Electroacoustic Music Festival 2018, Barcelona Zeppelin 2018, Leicester Convergence 2019, Barcelona Flexus Project 2019, NACUSA Mid-South composers concert at the University of North Georgia, Monterrey Ecos urbanos Festival de arte sonoro y transmedia 2019, University of Tennessee Contemporary Music Festival 2020, MOXsonic Missouri Experimental Sonic Arts 2020, New York Electroacoustic Music Festival 2020, Turin SMC 2020, Nottingham Lakeside Arts Acousmatic Journeys 2020, Chile ICMC 2021, La Crosse New Music Festival 2021.


SUGAR ORGANS,  dez 2021 is a CARBONO CYCLE base METABOLIC fictional STORY about our URBAN-RURAL Borderline Ecological Acoustic Environment : WET WORLD TO MAKE FLESH LAND focused on our hydrocommons water-bodies and our rural_urban soil_communities. And the need to recognize and care about our borderline URBAN-RURAL WILD LIFE NATURES circulatory ecosystems as NATURE. WHOM IS SO OFTEN PERCEIVED AS TOXIC-WASTE-TRASH FLORA AND FAUNA. Not to care-defense of our urban-rural wild nature is an Ecocide.

TECNOSPHERE coevolved by interweaving technologies and the natural environment to the point they both became inseparable, reshaping the Earth resonador itself. For this sonographic experiment  the materially-embodiment was made by intersecting biomaterials, generated from fermentations and symbiotic microbial-bacteria with field recordings and signals harvested from the Antropo-Geologic Tecnosphere Habitats-Biomes, which I inhabit between Cataluña and São Pedro de Moel, Portugal.  Having as tools: digital-recorders and tape-recorders, as well body-action submerged into low-fi-contact mics, microscopes, and ‘ready-made-mobil-tec’. Sonicly the techniques used to manipulate signals from raw audio field-recordings in real-time were: bruit collage, juxtaposition, looping, cut-ups and heavy-compression,  spectral processing, time-stretch-distortion, mechanical urban-drones and bronken soundscapes.

Credits: Sound- Joana Moher featuring Joaquin Jimenez Sauma from Mexico, both for a live-act during the World Listening Day, Barcelona. Visual- Joana Moher r-edit_project for Teorema Festival and Cinetika 2021, Barcelona

Keywords: Accidental Soundscapes; Acoustic Ecology; Science and Witchcraft; Anthropophony Noises of Beings; Industrial-Archeology

Joana Moher from São Pedro de Moel, Portugal, based in Barcelona, Catalunya, Spain. Migrant, Femme, Activist, Proletarian, Dyslexic, Bruit-Sono-Visual Storyteller and Radiochronic. Formally a Sociologist and Psychopédagogue and Biomaterials Researcher. Fome Bruta by Joana Moher is a transdisciplinary “sonoplastia” experiment, bruit and domestic. That since 2010 r-borns every time that listening is activated. Listening-with as vital Eco-rituals between science and witchcraft, intersecting field-recordings with biomaterials, noises of beings with properties of matter in search for a sonoplastia_ syntax about our urban-rural biomes, and our human and non-human ecological communities, actions and struggles, metabolized into sono-visual-graphic hybrid incisions in space. And onto memories-documentation loops as self-publishing DIY-DIWO_DIT micro_editions like zines and k7’s as Fome Bruta Sonoplastia Gráfica and as Glandulas Syntax for future storytelling. Latest public-incisión: my self-publishing researches and AV are currently integrating the collective exposition ‘Manuales de reparaciones y sonidos cósmicos’  at the Museu de Arte Contemporanea, MACBA, Barcelona 2022.

Installation room

Weather-World Harps, by Ivo Louro

Weather-world Harps is a digital-analog air pollution sonification system that gives sonic agency to the constitution of the momentarily situated atmosphere by actuating six prepared electric guitars. The purpose of this installation is to demonstrate how environmental sensors can be used to enhance both our aesthetic and political understanding of the atmosphere by acting as harp-playing oracles for the “weather-world” (Tim Ingold). The six guitars are strummed by motors and sustained by Ebows, which are controlled via data from air quality sensors. The played notes, modes, and intensities of strumming are all dependent on the concentrations of different pollutants, creating an ensemble that is continuously evolving and generative.

Keywords: Sonification, Weather-world, Installation

Master in Environmental Engineering, Ivo Louro is a PhD researcher in History of Science and Technology, whose interests focus on the historical and cultural contingencies of sound and listening as epistemological tools in traditional and techno-scientific settings, as well as the ways in which humans and non-humans relate to their environment through the sonic. His artistic practice focuses on the sonification of ecological problems, having exhibited the works Atmosmancy, at the exhibition Immersive in 2017 (Sociedade Nacional de Belas Artes, Lisbon) and Atmosmancer at the Lisboa Soa Festival in 2019 (Estufa Fria, Lisbon).


Installation outside (courtyard)

An afternoon at the Refugee Migrant Camp in Tijuana, by Alvaro G Diaz-Rodriguez

This sound installation recreates an afternoon inside the migrant refugee camp in Tijuana, where more than 500 South American refugee migrants have founded a small city a few meters from the border with the United States; waiting day by day for the border to open for them.

The sound installation consists of three (or more) small camping tents; inside each of them there is a small light and a speaker that reproduces the recordings that I have compiled for more than a year, from the refugee camp, in them you can hear the sound of children playing, the sale of food, migrants receiving American clothes and toys; creating a polyphony of sounds full of hope, sadness and reality.

Keywords: Soundscape, Migration, Border, Tijuana, Refugee.

Alvaro G Diaz-Rodriguez is a research professor at the Autonomous University of Baja California. He has a Doctorate in Musicology from the Universidad Católica Argentina. He received the 2021 Ecos Sonoros Award, by the Mexican Ministry of Culture. His research “Sound-Visual Cartographies (SONVI)” won the call for Art, Science and Technology (ACT) UNAM / FONCA 2018; was Mention Spéciale at Le concours international 60 Secondes Radio 2021 (Canada). He has lectured in North and South America, Europe, and Asia. He has published several book chapters and articles, highlighting “Sound through the looking glass. An approach to the dimensional sonology on the Tijuana-San Diego border” (Routledge, 2020). He was coordinator of the book Visiones Amorfas. Approaches to Art from the 21st century (UABC, 2018). As a sound artist, he has focused on linking the soundscape with the social contexts of its inhabitants, to create a portrait of society through sound.