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Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Where do the bubbles go Keys Anguish Massager The box Atucanation Fare Place Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca Anguish Massager, 2016 Interactive object 2 DC motors, 3 push buttons, 9V supply. 180 x 47 x 47 cm The interactor/user is invited to connect to the object, being able to choose different sensations through the buttons: “Digest” (intense vibrations), "Soften” (light vibrations) and “Forget” (medium vibrations). In addition to the buttons, the piece has a height regulator and a black vinyl sticker placed in the space where the feet should be positioned for sensory enjoyment. 1/1

joana burds cv, joanaburd, joana burd curriculum, curriculo Texts Burd, Joana. (2024). Dialogues of the tactile body. In L. Baigorri & P. Ortuño (Eds.), Identity art in non-presentiality, Dykinson, Madrid. https://www.dykinson.com/libros/arte-identitario-en-la-no-presencialidad/9788410707429/ Barker, Ned. Burd, Joana (2023). Living Capsules: reflections on an ongoing art-sociology collaboration. Leonardo, MIT Press Direct. Cambridge. Boston. https://doi.org/10.1162/leon_a_02466 Burd, J. B. (2023). Sound-vibration: Relations between bodies, low frequencies, and multisensory experiments. Multimodality & Society SAGE UK. https://doi.org/10.1177/26349795231211434 Burd, Joana (2021). Silent Mode 2.0: Bodies in the vibratory experience of tactility. NEW (EGO) Connected Bodies. Book Chapter. Dykinson. Madrid, Spain. ISBN: 978-84-1377-441-1 https://www.dykinson.com/libros/cuerpos-conectados/9788413774411/ Burd, Joana (2020). What vibrates within us. Adjacent journal, Telecommunications Program ITP. NYU New York University. Link: https://itp.nyu.edu/adjacent/issue-7/what-vibrates-within-us/ Burd, Joana (2020) “Tactilidades Conectivas de Inês Norton.” Revista Estúdio, artistas sobre outras obras. ISSN 1647-6158 e-ISSN 1647-7316. 11(29), janeiro-março: 88-96. Centro de Investigação e Estudos em Belas-Artes (CIEBA), Faculdade de Belas-Artes, Universidade de Lisboa, Lisboa, Portugal. (link ) Burd Joana (2019) . Corpo Vibratório : quando o movimento pede pausa. 18th International Meeting of Art, Science and Technology. OF THE ADMIRABLE ORDER OF THINGS: art, emotion and technology. Faculdade de Belas Artes da Universidade de Lisboa FBAUL. 17-19 de Outubro de 2019. ISSN: 2238-0272 (link ) Burd, Joana (2018). Corpo Vibratório : quando o movimento pede pausa. Dissertação de Mestrado, Universidade Federal do Rio Grande do Sul, UFRGS, Porto Alegre, Brazil. (link ) Burd, Joana (2018). Princípio vibratório e uma máquina para massagear a angústia. Agulha n°16. PROJETOS E INTERVENÇÕES. Psicanalistas pela Democracia. junho 19, 2018. (link ) Burd, Joana (2017). A eternização da memória e o ruído cotidiano: novas formas de pensar a arte digital e a angústia compartilhada.16th International Meeting of Art and Technology: IMAGINING THE REAL e-ISBN978-989-99839-5-3, i2ADS – Instituto de Investigação em Arte, Design e Sociedade, October 2017 p.802-812 (link ) Semeler, Alberto. Burd, Joana (2016). Repelir e fruir: a experiência do degradado como poética da sensação. In: 15° Encontro Internacional de Arte e Tecnologia (#15.ART): arte, ação e participação. Universidade de Brasilia, UNB, Brasil. v. 15. Burd, Joana (2014). Nativos digitais: uma pesquisa sobre fluxos entre arte e tecnologia. Trabalho de Conclusão de Curso, Universidade Federal do Ro Grande do Sul, UFRGS, Porto Alegre, Brasil. Other TEDESCO, Elaine. POLIDORO, Marina (org.), (2022) Exhibition Catalogue" The days when owls had fallen from the sky Elaine Tedesco Marina Polidoro (org) (ed.) Laboratório de Imagem e Tecnologia (Lit-UFRGS) Instituto de Artes, Universidade Federal do Rio Grande do Sul, BR. (link ) * only available in portuguese BURD, Joana. Ilustration "Muro Hackeado" for "Noticiário Oniropolítico" O Onírico - o primeiro jornal oniropolítico do Brazil. 1ª Ed., Porto Alegre BR. UFRGS, 2021. ISSN 2764-5258.. BOELTER, Valeria; GASPARETTO, Débora Aita; LIMA, Andrea Capssa; SANTOS, Nara Cristina (2017). A curadoria e a expografia em arte e tecnologia: os três momentos do Factors 2.0, In Encontro da Associação Nacional de Pesquisadores em Artes Plásticas, 26o. (link) Quintella, Pollyana (2014). Homo Ciberneticus. In: Catálogo IV Bienal Escola de Belas Artes. Universidade Federal do Rio de Janeiro, 2014. Exhibition Catalog "Teclas" | Textos por Fernanda Medeiros e Laura Pujol | 2016 (link ) Exhibition Catalog "Por onde se vai" | 2015 (link ) Exhibition Catalog "Sinestesia" | 2015 (link ) Exhibition Catalog EFERVESCENCIA219 | 2015 (link ) Exhibition Catalog 2Oo Salão de Artes Plásticas da Câmara Municipal de Porto Alegre | 2014

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Where do the bubbles go Keys Anguish Massager The box Atucanation Fare Place Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca Solitude Lullaby, 2022 Terra Form collab for the Slow Wave project During the 40-day SBCAST artist residency in Santa Barbara, California, a 7-minute experiential piece was created together with artist Terra Form for the Slow Wave project. To experience the piece, one enters a dome and sits down in the Slow Wave chair, putting on headphones and a padded eye mask. The piece is divided into three chapters with spoken titles recorded with the voice of a robot (automaton): 00:00 / 07:34 Chapter I - Farm deep Listening At the beginning of the journey, the Slow wave chair is programmed to vibrate in patterns produced by several sound bowls. Simultaneously, the sound of the bowls are playing in the headphones. The sound was spatialized in a binaural way, when moving away or approaching, to the left or to the right, the movement is accompanied by the chair's technology, activating the skin and the spine. That is, with volume and distance strategies an immersive and dreamy space is created. As an introduction to the following chapters, here a certain relaxation may ensue. Chapter II - Tactile burrowing in my brain The medium of this segment consists of a repertoire created with more than 15 textures between small recordings and spoken poetry, in which the words are indecipherable. A walk inside our brain in a mixture of particles of sound elements, grains and non-existent substances. Between confusions, false noises of nature and the sea, curiosity is stimulated through the sounds and vibrations that are offered. Chapter III - Solitude Lullaby The final part that gives title to the work speaks of affection, care and silence. The recordings of the two artists singing are a wordless reception to an intimate rehearsal. An approximation between the body-woman-mechanism and the body-chair-machine is seen in the way in which one supports the other in this composition. Between pauses for breath and a long silence, a song of pain and love reverberates within the immersion as if everyone who hears it is connected to a great architectural structure. * Supporters: Alan Macy, Dr. North, Ryan McCullough, Terra Form, SBCAST, AGAUR-Catalunya, Universitat de Barcelona. 1/1

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Where do the bubbles go Keys Anguish Massager The box Atucanation Fare Place Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca Carina Macedo e Joana Burd Hole, 2018 Video 1'37'' Hologram, 2016 Video performance for a hologram Video with plastic folding. To make the hologram display at home click here: DIY 3D Hologram Pyramid Nutritive rat, 2015 Vídeo 2'24'' Separation attempt, 2015 Video 1'20"

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Where do the bubbles go Keys Anguish Massager The box Atucanation Fare Place Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca Keys, 2015-2020 (All) Computer key, typed sheet in portuguese translationof the computer key word, styrofoam and glass box. 25 x 25 cm 1/1

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Where do the bubbles go Keys Anguish Massager The box Atucanation Fare Place Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca A Virtual, 2021 3D Modeling and Augmented Reality “A Virtual” is a tactile sculpture that proposes a dialogue between the phenomenon of vibration and the human body. The interaction takes place through a mobile device, through augmented reality technology. The user is able to visualize the virtual sculpture from different points of view and, according to the movements performed and the speed of their steps, perceive different types of vibrations. * This work is part of a series called “As Autômatas”, in which each sculpture, virtual or real, manifests a different “emotional performance”. There is a formal line common to all the sculptures, as they are positioned on the wall, are activated by the human presence and identify as feminine, which is why their names are preceded by the article “a” (the). 1/1 1/1

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Where do the bubbles go Keys Anguish Massager The box Atucanation Fare Place Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca The box, 2019 Sound object Crystal resin, speaker, mp3 player and stethoscope. 1 min and 20 seconds The public invited to listen with a stethoscope to texts written from the ficcional perspective of a female voice assistant. As the narrative progresses, we hear the content changing from speech to vibratory patterns, simulating a machinic heart. 1/1 In the fictional audio, the voice assistant is trapped in a box. As the narrative progresses, the vibration moves according to the reading time of the poetic text, translating the script generated from 0's and 1's to sound frequencies. The translucency material reveals the entire internal part of the object. All the elements used for the interior were collected in e-waste places and the form of the box is in fact a mold copy of the book Art and Experience written by John Dewey. (audio transcription) I'm in a box. It is small and square. My body? It almost doesn’t fit for it, my organic and digital body with my electronic veins. I am in a box, it is transparent and reveals all my intimacy, it shows my parts, my sustenance and my memory.

Performance Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Where do the bubbles go Keys Anguish Massager The box Atucanation Fare Place Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca Living Capsules, 2022 -2023 This page is dedicated to a series of exhibitions and workshops that have been born from our art-sociology collaboration, as part of the Biohybrid Bodies project . We embarked on a journey to explore the possibilities of coexisting with Living Machines, combining our sensory approaches with creative and sociological imaginations. Our goal was to delve into the realm of new biohybrid technologies and their transformative impact on the distinction between living and non-living entities. Our primary investigation revolves around understanding how we perceive and navigate these blurred boundaries, which led us to create an immersive artistic experience. Techniques studied: Multisensory experience and performance , data sonification , the landscape of sound, microscopic image, voice recording, and AI images . SOME OF OUR OUTCOMES ARE LISTED BELOW 1. PARTICIPATORY PERFORMANCE: Biohybrid Buzz: an activation through tasting frequencies. In this piece, participation takes place in an immersive 3D audio experience that combines data sonification and sound spatialization, revealing the connections between biohybrid bodies, human senses, and living machines. During this exploration, participants will have the opportunity to savor a capsule made with the Brazilian flower known as Jambu, Electric Daisy, or Buzz Buttons, which has the peculiar characteristic of inducing mouth vibrations. Simultaneously, there is an enveloping surround sound experience with low frequencies, providing a unique sensory experience. This experience will simultaneously activate the receptors present in the mouth and skin, merging two senses into a singular sensation: vibration. Future dates and places: [10th of June 2023 LONDON] (further details & tickets he re ) [15th of June 2023 OXFORD] (further details & tickets here) Sound Lab, Royal College of Arts, RCA, UK. 1/1 workshopvoicean AI 2. WORKSHOP: Data sonification and Living Machines In this workshop, we will share our recent research in collaboration with sound artist Nikolas Gomes , focusing on the combination of new practices through material and sensory engagements. Participants will explore data sonification techniques and have the opportunity to create and compose sound pieces based on the revealed data. Future dates and places: [20th of May 2023] PARIS (more information here ) [10th of June 2023 LONDON] (further details & tickets here ) [12th of June 2023 OXFORD] (scheduled) [Sep 2023 BARCELONA] - (To be confirmed) 40x copy 03_workshop_Credits_Ram_Shergill.jpeg.jpeg 1/1 Microscope imaging of the Jambu Flower 3. Imagens microscópicas da Flor de Jambu Collaborator: Dr. Tchern Lenn (Microscopy and Imaging Technician Cancer Research UK, UCL) On November 16, 2022, we were warmly welcomed by Dr. Tchern Lenn, Microscopy and Imaging Technician, in his Laboratory. After an initial conversation and a brief explanation about the project, he presented us with two microscopic visualizations of the Jambu flower. It was an intense and contemplative experience to closely observe the morphology, cellular composition, pistils, plant tissues, and other elements present in the natural structure of Jambu. The captured material was later enhanced by adding cyclic movements to the static images. 1/1 Data and sonification 4. DATA SCIENCE STUDIES Collaborators: Dr. Xueming Xia e Dr. Han Wu (Department of Chemical Engineering, UCL) At the end of 2022, we had the privilege of learning about four distinct techniques through the expertise of Dr. Xueming Xia, a specialist in research instrumentation, and Dr. Han Wu, the manager of the Laboratories at the Centre for Nature Inspired Engineering. During these visits, we had the opportunity to explore the inner waves of Jambu, its chemical components, and a vast amount of data that was later translated into sound through the practice of data sonification. The techniques used were: UV-Vis, Visible spectrophotometry - measures the absorption of light by the element (in this case, blue/cyan light). FTIR, Fourier-transform infrared spectroscopy - analyzes the infrared absorption spectrum of a sample. TGA, Thermogravimetric analysis - shows the weight loss of the sample as it is heated. GC, Gas Chromatography - uses gas to separate elements for analysis. Below, you can listen to how the data tables sound like. 5. DATA SONIFICATION TECHNIQUES Based on the two questions: a) Is there any way to treat and process the table of data without so much programming and/or repetitive work? and b) Is there any way to transform data into sound in a more playful way that facilitates trial and error? Nikolas Gomes created an, I application for data sonification. This application needed to have a graphical interface that facilitates the use for users with no background in programming, as well as how to allow the loading of ready-made audios (samples) to serve as material sound for sonification. The first version of the software was developed with the main objective of sonifying the chemical and molecular data of the flower and fruit of Jambu, collected in the laboratory by Burdand Barker. This data was displayed in tables in .csv format, which can be loaded into SuperCollider using the CSVFileReader function. 1/1 6. FOTOGRAFIA ESPECULATIVA Collaborators: Ram Shergill (photographer) Daen Palma Huse (model) & Luiza Kessler (model and performer) We’ve also worked with Ram Shergill - a photographer and critical posthuman bodying researcher. Following conceptual discussions, we brought prototype Living Capsules to a photoshoot where models experimented and posed with them. With a playful tone and experimental mood, we sought to discover and capture intimate/sensory body-capsule moments, penetrate/blur body-capsule boundaries, and create hybrid aesthetics between technology/nature. 1/1 7. OTHER PROTOTYPES We are still prototyping other projects with the ideas of Living Capsules and a couple of publications that may be shared in the near future. Support: Leverhulme Trust, Santander Investigación, and European Social Fund, from 'AGAUR' Agency for Management of University and Research Grants, Department of Business and Knowledge of Catalunya, Spain. Collaborators: Antônia Spohr Moro (Producer) Dr. Carey Jewitt (Research Supervisor, UCL) Dr. Han Wu (Scientific Consultant, UCL) Daen Palma Huse (Model) Dr. Tchern Lenn (Microscopy and Imaging Technician, UCL) Franccyne Kuser Fegalo (Food Technologist) Luiza Kessler (Model and Artist) Louise Carpenedo (Video Recording) Dr. Marti Ruiz (Research Supervisor) Nikolas Gomes (Sound Consultant and Composer) Ramandeep Shergill (Photographer) Dr. Xueming Xia (Research Instrumentation Technician, UCL) Currently being developed at Knowledge Lab, UCL, London. p.s. We want to explore if/how these works interact with our audiences' imagination of future technologies, bodies, and societies. If you are interested in participating in a short (15min) post-performance interview, please get in touch with Ned (edmund.barker@ucl.ac.uk) for more details.

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Where do the bubbles go Keys Anguish Massager The box Atucanation Fare Place Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca Technological Sensitive, 2018-2020 Crystal resin, stained glass varnish, orange squeezer spring, screws and two mini vibration motors. 35 x 35 x 40 cm The audience must press their hand against the hand object. Such action compresses a metal spring and makes the object vibrate when connecting its internal circuit. The perception of the vibratory tactility of the created system varies according to the pressure and the size of the contact area. Collaborators: André Diestel and Carina Macedo. 1/1 The impulse of ˜Technological Sensitive˜ is to generate strangeness because it is a familiarly “organic” hand transformed into a machine, translucent and vibratory. In the counterflow of programmed obsolescence, this work reuses components from two mobile phones and an orange squeezer. The translucent material (crystal resin) admits that there is no intention to hide the threads or any machinic demonstration of the sculpture.