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Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora 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 Where the bubbles go, 2014 Wooden box, soap bubble machine, 19 inch LCD monitor. Video installation. Loop 2 ' 48 x 42 x 36 cm Video installation, where I place myself in profile inside a box making soap bubbles. Attached to the box is a machine that produces soap bubbles and spreads them into the real space. 1/1

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora 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 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.

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora 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 A Carinhosa, 2021 Mega Arduino, 2 Nema 19 engines, 15 pieces with digital fabrication, aluminum tubes and 12v source "A carinhosa” (could be also translated as cuddler) is a sculpture that starts from programmed obsolescence as it is made up of recycled engines and an adaptation of a damaged printer. In addition to its oval shape, it has attached to its body a set of electronics and various parts printed with a 3D printer. As the audience approaches, the sculpture's arms slightly move horizontally, evoking the idea of affection, translated as a mechanical dance in movement. * 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

joana burds cv, joanaburd, joana burd curriculum, curriculo Visual artist, lecturer, and researcher in haptic aesthetics. Holds a BA in Visual Arts (UFRGS, BR, 2014) and an MA in Visual Poetics (UFRGS, BR, 2018). PhD in Advanced Studies in Artistic Productions from the University of Barcelona (2025, cum laude distinction). Currently a Lecturer at IE University (Madrid–Segovia). She is part of the research group “Cuerpos Conectados III. Nuevos procesos de creación y difusión” (UB, ES). She has held seven solo exhibitions and, in 2022, presented her work in London (UCL), SBCAST (Santa Barbara, CA, USA), RIW Rio Innovation Week (Rio de Janeiro, BR), and Ateliê397 / Galeria Vermelho (São Paulo, BR). E-mail: joanabburd@gmail.com My work develops within art, physics and technology through interactive sculptures, videos and sound installations, collaborating with artists, social ethnographers, performers and engineers. I focus my practice in a hybrid of low technology assemblies and open source coding platforms. The pieces aim to offer tactile experiences for the public to interact and engage their bodies with the vibration phenomenal. I research how motors and speakers can question objects of desire and the gender perspective in the digital field. I’m also interested in the affective impact of technology and how to create new forms of dialog through touch and haptic devices. Education PhD Advanced Studies in Artistic Productions [2019-24] Programa de doctorado de la Universitat de Barcelona Facultat de Bellas Artes Advisor: Laura Baigorri Thesis: Poetics of vibration: deployments of technology in contact with the body as affective memory Master in Visual Poetics [2016-18] Universidade Federal do Rio Grande do Sul Instituto de Artes Advisor: Prof. Dr. Alberto Semeler Thesis: Vibratory Body: when the movement calls for pause Graduation Visual Arts [2011-14] Universidade Federal do Rio Grande do Sul Instituto de Artes Advisor: Prof. Dr. Celso Vitelli Thesis: Digital Natives: A research on flows between art and technology Universidade Federal do Rio de Janeiro [2013] Escola de Belas Artes Academic Mobility (exchange). Duration: 1 semester Solo Exhibitions 2021 "Cold skin. The automata of wanting." Curated by Ana Urroz. October 2021. Ateneu de Fabricació Les Corts, Barcelona, ES. 2021 "The Autòmatas: sentimental prototypes", September 2021, Casa del Mig, Barcelona, ES. 2019 “Silent Mode”. September 2019, Galeria do Linha, Porto Alegre, BR. 2018 “Vibratory Body”. September 2018. Casa Musgo, Porto Alegre, BR. 2017 “SHIFT”. May 2017. Galeria do Templo, Rio de Janeiro, BR. 2016 “Keys”. October 2016 . Curated by Fernanda Medeiros. Centro Municipal de Cultura Ordovás, Caxias do Sul, BR. 2016 “Nutritive Machines”. May 2016. Galeria Lunara, Usina do Gasômetro, Porto Alegre, BR. Selected Group Exhibitions 2024 - Virada Sonica, curated by Chico Dub, Farol Santander, São Paulo, BR 2024 - SO UND DIARIES. Sonic Art Research Unit (SARU) at Oxford Brookes University, UK. 2023 - Inauguration Ceremony for the 2023-24 academic year. University of Barcelona, October 2, 2023. Barcelona, ES. 2023 - Ebre, Música & Patrimoni 2023: Acústica i noves tecnologies, Consorci del Museu de les Terres de l’Ebre, Departament de Cultura de la Generalitat de Catalunya, ES. 2023 - "Symphonic Poem for 100 Metronomes by Ligeti, from October 6, 2023, to October 15, 2023. Master's in Sound Art at the University of Barcelona, coordinated by Martí Ruiz. Museum of Music, Barcelona, ES. 2023 - ELECTRIC DAISY. A multi-sensory performance that invites you to taste a natural infusion to make your mouth vibrate in sync with a captiva ting soundscape at the Old Fire Station Studio.15th June 2023, OffBeat Festival, Oxford, UK. 2023 - PERFORMANCE: Biohybrid Buzz: an activation through tasting frequencies. 10th of June, Iklectik, London , UK. 2023 - “COCOCOCU” Festival Kino Beat, Curated by Gabriel Cevallos & Adauany Zimovski, support British Council and Oi Futuro, MACRS, Museu de Arte Contemporânea do Rio Grande do Sul, BR. 2023 - FACTO 10 é Bienal Sur, Festival Arte, Ciência e Tecnologia. Natureza em Metamorfose. Labart UFSM, MACT, Santa Maria, BR. 2022 - Innovation Art Journey, R IO Innovation Week – Inovação a Favor da Cultura, Rio Pop Tech, Cais do Porto da cidade do Rio de Janeiro, BR. 2022 - "Vivemos para isso" | 'VOA 2022-2023 Call for Female Artists and Non-Binary People. Curators: Bruna Fernanda, Érica Burini, Khadyg Fares, Thais Rivitti. Galpão da Vermelho and Ateliê397, September 24 - O ctober 23, São Paulo, BR. 2022 - "Platform 10 Deserts of Errors", Project by Artist Leo Caobelli, supported by Rumos Itaú Cultural 2019-2020, Porto Alegre, BR. 2022 - 'Solitude Lullaby', created for the Slow Wave system. Invited artist in "EoYS II SYMADES 2022 UCSB Media Arts and Technology Program End of Year Show". UC Santa Barbara, 27th of May, SBCAST - Center of Art Science and Technology, USA. 2022 - "Visual Brasil Festival " curated by Ricardo Cançado, September 30 - October 01. Industrial Park, Barcelona, ES. 2022 - Materia Difusa: A look at the MACRS collection, living language cutouts. Curated by Gabriela Motta. Exhibition commemorating the 30th anniversary of the MACRS Museum. Galeria Edmundo Rodrigues do Complexo Palacete Pedro Osório, July 16 - August 21, Bagé, BR. 2022 - Installation "Tactame" DelMig Collective: Blanca Somoza, Helena Gali, Ignasi Àvila Padró, Joana Burd, Mario Salinero, Neus Martinez Farran e Sara Jansen, Verso, From April to July, Gramado, Rio Grande do Sul, BR 2021 - "Criatech Aveiro Digital Creativity & Technology." Curated by Carlos Verissimo. Festival October 11 — 16, 2021. Aveiro, Pt. 2021 - "The Days that Owls Fell from Heaven." Curated by Elaine Tedesco and Marina Polidoro. Plataforma Verter. Laboratório de Imagem e Tecnologia do Instituto de Artes da Universidade Federal do Rio Grande do Sul, BR. 2021 - "NEW(EGO) Cuerpos Conectados."Curated by Laura Baigorri. ETOPIA Centro de Arte y Tecnología." Zaragosa, ES. 2021 - "Mulheres e inserções digitais" Curated by Lara Sosa, Lisboa, PT. 2020 - "Dystopie Festival" , Errant Sound. Alte Müze. Berlin. DE. 2020 - "Criatech, Digital creativity & technology" . Museu de Aveiro/Santa Joana. Exhibition October 12 - 18, 2020. Aveiro, PT. 2020 - "30 Semanas". Galeria do Linha, Porto Alegre, BR. 2019 – “3o Prêmio de Arte Contemporânea 2019 da Aliance Française”. Paço Municipal da Prefeitura de Porto Alegre, BR. 2019 – “Desalinhos.” Curated by Carina Dias, Fernanda Almeida e Lucas Vilela Souza. Casa Baka Arte e Cultura, Porto Alegre, BR. 2019 – “Festival Internacional de Arte Computacional Em Meios# 11.0” FBAUL Faculdade de Belas Artes, Universidade de Lisbon, PT 2019 - Participation in Leo Caobelli’s solo exhibition with the art work “Porn Oasis. Fundação Ecarta, Porto Alegre, BR. 2019 - Exhibition in event. “Humanidade Aumentada”. Futuro Rio, Rio de Janeiro, BR. 2019 – “Registro No3”, Casa Baka, Porto Alegre, BR. 2018 – “5 ̊ Festival Kino Beat”. Mostra AVSD curated by Elaine Tedesco. Vila Flores, Porto Alegre, BR. 2018 – “AVSD Audio Visual Sem Destino”. Pinacoteca Barão de Santo Ângelo, Instituto de Artes da UFRGS, Porto Alegre, BR. 2018 – “Exposição ImensaMente”. Museu da UFRGS, Porto Alegre, BR. 2018 – “1a Edição do Projeto Concha”, idealized by Alice Castiel Ruas, Agulha, Porto Alegre, BR. 2017 – “Paragem”. Pinacoteca Barão de Santo Ângelo, Instituto de Artes da UFRGS, Porto Alegre, BR. 2017 – “Festival Internacional de Arte Computacional Em Meio# 9.0” Galeria da Universidade do Porto, Porto, PT. 2017 – “Qual é a sua praia?” PPGAV-IA UFRGS. Produced by Prof. Dra. Tetê Barachini. Vila Flores, Porto Alegre, BR. 2016 - “Internacional de Arte Computacional Em Meio# 8.0” Internacional. Museu da Republica, Brasilia, BR. 2016 – “Vontade de Execução”. Cadu Peixoto e Joana Burd. Galeria Iberê Camargo, Usina do Gasômetro, Porto Alegre, BR. 2016 – “Presente Rascunho.” Acervo Independente, Porto Alegre, BR. 2015 – “FACTORS 2.0, Festival de Arte, Ciência e Tecnologia do RS”, MASM (Museu de Arte de Santa Maria), BR. 2015 – “Sinestesia”, Acervo Independente, Porto Alegre, BR. 2015 – “O Feminismo é para todas as pessoas”, Acervo Independente, Porto Alegre, BR. 2015 - "E F E R V E S C Ê N C I A 2 1 9" , Acervo Independente, Porto Alegre, BR. 2015 – “Por onde se vai,” Câmara Municipal de Porto Alegre, BR. 2014 – “20o Salão de Artes Plásticas Câmara Municipal de Porto Alegre”, BR. 2014 – “Entre Atos”, Acervo Independente, Porto Alegre, BR. 2013 – “IV Bienal da Escola de Belas Artes”, Centro Municipal Hélio Oiticica, Rio de Janeiro, BR. 2013 - Event, “MoMa Pop Rally: Abstract Currents”, New York, US. 2012 – Site-specific sculptures to music concert of Dingo Bells, Ocidente, Porto Alegre, BR. Art Residences 2023 - Anthill Residence, 8º Festival Kino Beat, CCMQ, Brazil. 2022 - SBCAST , Santa Barbara Center of Art, Science and Technology, USA. 2021 - Kovent Zero , Berga, Spain. 2021 - Punt Multimèdia de Sants - Montjuïc, Casa del Mig. Barcelona, Spain. 2020 - Aveiro Criatech Artist Residence. Aveiro, Portugal. 2019 - Residência artística, Linha. Porto Alegre, Brazil. 2013-2017 Acervo Independente. Porto Alegre, Brazil. Research Grants and Awards 2022 Winner of Digital Artists Grant - Moniker International Art Fair Foundation and Creative Debuts , London, UK. 2022 Santander Investigación | ESTADES 2022, ES. 2021 Winner of LA RODA II award - art and technology for young creators, organized by the FAB Casa del Mig - Punt multimèdia. Barcelona City Council, ES. 2021 Konvent 100% Scholarship support for August 2021, Berga, ES. 2020 Scholarship Personal Investigator Novell (FI) Cuerpos Conectados, ES. 2020 Support Fund Fundação Calouste Gulbenkian, PT. 2019 Nominated Artist. 3o Prêmio de Arte Contemporânea 2019 da Alliance Française, BR. 2015 IX Azorian Award for visual Arts. Institutional Highlight. Member and Manager of the team Acervo Independente, BR. 2013 Scholarship for art investigation and studies Santander ANDIFES – Universidade Federal do Rio de Janeiro, BR. Academic Conferences 2024 - " Interdisciplinary Speculations for the Future of Biohybrid Robots" Rafael Mestre, Ned Barker, Sergey Astakhov, Aníbal M. Astobiza, Maria Guix, Joana Burd, Matt Ryan. fPET 2024, Center for Art and Media - ZKM ZKM Kalshude, DE. 2022 - Private viewing “Biohy brid Buzz 1.0”. November 23rd. Invited by Matt Lewis and Joe Hirst RCA Royal College of Arts, London, UK. 2022 - "Reverting metal on flesh: derivations from the afterlife of technology." ReMAP Research in Media Arts and Play Knowledge Lab's Seminar Room. November 10th. UCL, University College of London, London, UK. 2022 - “The entity of automatons: technology, body, affection and intimacy”, Intellectual Life , UCL Knowledge Lab IOE UCL’s Faculty of Education & Society, University College London, London, UK. 2022 - "Cold Skin, machines that vibrate us", S AR 13th SAR International Conference on Artistic Research , Bauhaus University, Weimar, DE. 2022 - "Vibrating Pulses: the skin as perceptor", Conversas Barcelona, La Social Libreria, Barcelona. ES 2022 - "Procesos de la poetica de la vibración", E.I.D 2022 Encuentro de Investigadores Doctorales del program EAPA. University of Barcelona, ES. 2021 - Artist Talk. MTF Labs 2021 . International | Aveiro, PT. 2021 - "ArchID, an online cartographic archive." BIONICAS 1.0 Conference. Women, Art, Technology and Society. BLA BLA Conference Program. TABLE 3: Archive, body and media. Authors*: Joana Burd. Celebrated December 27-30, 2021. Barcelona, Spain. 2020 - “Body, interaction and sensation: haptic aesthetics as a protagonist in times of touchscreen.” I CIVARTES International Virtual Congress: Dialogues between visual arts and visuals and other artistic mediums in times of hybridization. Celebrated on July 20-22, 2020, ES. 2020 –“Tactile connections of Inês Norton”. 2020. CSO Criadores Sobre outras obras. Lisbon, PT 2019 – “Vibratory body, when movement aks for pause.” #18art Encontro Internacional de Arte e Tecnologia, FBAUL, Lisbon, PT. 2018 – “Utopian rotations and becoming machine”. Centro de Artes UFPEL, Pelotas, , BR. 2017 – “The black mirror in information cities”. Seminário Qual é a sua praia? Vila Flores, Porto alegre, , BR. 2017 – “The eternalization of memory and everyday noise: new ways of thinking about digital art and shared anguish.” #16art Encontro Internacional de Arte e Tecnologia, Porto, PT. 2015 - Exhibition Seminar “Por onde se vai”, na Câmara Municipal de Porto Alegre, BR. 29/07. 2015 - " Visual arts teaching project: the internship experience under discussion ", na disciplina Laboratório de Projetos de Ensino em Artes Visuais I, promovida pelo Curso de Artes Visuais do Instituto de Artes, UFRGS, no dia 12 de Junho de 2015. Prof. Dr. Celso Vitelli, BR. 2014 – Seminar “Autopoiesis: Espaços de Arte e Coletivos Independentes do Rio Grande do Sul” em Caxias do Sul, BR. De 02/05 a 04/05. 2014 - “About the collaborative art project of Acervo Independente” Evento Observatório de Economia Criativa na UFRGS, Porto Alegre, BR. 15/08 Workshops 2023 - "Data sonification and Living Machines" (with Joana Burd, Ned Barker, and Nikolas Gomes) 14th of June, Oxford Brooks University, Oxford, UK. NGFDS Software Link 2023 - "Data sonification and Living Machines" (with Joana Burd, Ned Barker, and Nikolas Gomes) 10th of June, Iklectik, London, UK. 2023 - "Revealing and Sonifying Living Capsules (with Joana Burd, Ned Barker, and Nikolas Gomes) 20th May ISEA 2023 SYMBIOSIS International Symp osium of Electronic Arts, Forum de les images, Paris, FR. 2022 - Workshop Sensory Ethnography “Some Prototype Living Capsules” (with Joana Burd & Ned Barker), Bloomsbury Theatre, UCL, UK. 2022 - "Three stages of touch: an immersion in haptic aesthetics." MARGS, Museu de Arte do Rio Grande do Sul , Porto Alegre , BR. 2021 - "Video Artistic Experimentations and Co-Creation Laboratory", Experimental Workshops with the artists Diego Marchante & Joana Burd. ETOPIA, Art and Technology Center, Zaragoza, ES 2019 - “Video Mapping em on miscellaneous objects”, Edition II. At Linha. Porto Alegre, BR. 2019 - “Video Mapping on miscellaneous objects”, Edition I. At Linha. Porto Alegre, BR. 2016 - Theoretical and practical course " Art Exhibition Production ", At Acervo Independente, Porto Alegre, BR. 1/03 a 7/04 2016 – “Independent Spaces” at Campus 8, Centro de Artes e Arquitetura, Pró Reitoria Acadêmica, Universidade Federal de Caxias do Sul 21.10.2016, BR. 2015 – Teacher with Cadu Peixoto of the Course “#contemporaryart”, at Acervo Independente, Porto Alegre, BR. 2014- Course “The cloud as an exhibition space: production and post production in Visual Arts” at 28o Festival de Arte da Cidade de Porto Alegre, Secretaria Municipal da Cultura, Porto Alegre, BR. 2013 – Course “Videoarte x Low Budget” at Semana Acadêmica, Instituto de Artes UFRGS, Porto Alegre, BR. Teaching 2024 - Lecturer in the discipline "Escultura I y II " . Facultat de Belles Arts , Universitat de Barcelona, ES. 2024 - Lecturer in the discipline "Video Art and Lab Audiovisual". Lab MediaFacultat de Belles Arts, Universitat de Barcelona, ES. 2022 -2023 Lecturer in the discipline "Art Sonor" together with Prof. Dr. Josep Cerdá Ferrè and Prof. Dr. Martí Ruiz. Facultat de Belles Arts, Universitat de Barcelona, ES. 2021 - Lecturer in the discipline "Art Sonor" together with Prof. Dr. Martí Ruiz. Facultat de Belles Arts, Universitat de Barcelona, ES. 2016-2019 Visual Arts Teacher at Colegio Israelita Brasileiro, BR. 2016-2017 Teacher at the Sculpture Club at Colegio Israelita Brasileiro, BR. 2017 - Teaching Internship in Higher Education in the Laboratory of Art and Technology. 8 lessons. Total Hours: 30h. BR. Research Groups 2021- 2024 Researcher. Connected Bodies II. New processes of creation and diffusion of the practices of identity artists in non-presentiality. Center: Department Arts Visuals i Disseny. Universitat de Barcelona (PID2020-116999RB-I00. IP: Laura Baigorri Ballarin and Pedro Ortuño Mengual. ES. 2022 - Researcher and collaborating artist. ‘Biohybrid Bodies: a sociological framework for living with Living Machines’ - funded by the Leverhulme Trust. IP: Dr. Ned Barker. Faculty of Education, UCL University College of London, UK. 2021 - Researcher. IMARTE Project. Research in artistic processes and new technologies (20172019SGR1182). Center: Department Arts Visuals i Disseny. University of Barcelona. IP: Dr. Eloi Puig. ES 2020 - 2021 Researcher. Project: Connected bodies, Art and identity cartographies in Transmedia society (HAR2017-84915-R). Center: Department Arts Visuals i Disseny. University of Barcelona. IP: Laura Baigorri Ballarin and Pedro Ortuño Mengual. ES 2016- 2018. Researcher. Project: Network of digital arts experiments: visual programming, reverse engineering and 3D printing. Center: Institute of Arts. Federal University of Rio Grande do Sul. IP: Alberto Ribas Marinho Semeler. BR Others 2022 - Organization of the “EID 2022” Encuentro de Investigador@s Doctorales, from the Doctorate Program Estudios Avanzados en Producciones Artísticas, Facultad de Bellas Artes, Universidad de Barcelona, ES. 2021 - Curator of the Augmented Reality exhibition as part of the International Festival "Criatech, Aveiro Digital Creativity & Technology." Festival 11 — 16 October 2021. Aveiro, PT 2019 - Jury. NIME New Interfaces for Musical Expression. [Internacional] 2018 - Participant. Projeto Atelier na Galeria, Casa Musgo, Porto Alegre, BR. 2017 – Jury/Peer reviewer. "Exposição dos trabalhos finais da disciplina de Projeto IV" Inovação Social, no Curso de Design da ESPM Sul, Porto Alegre, 28 de Novembro de 2017. Prof. Dra. Liliane Basso, BR. 2014 – Round Table. “Encontro de Gestores – Projeto Cadernos de Gestão com apoio do edital Processos Culturais Colaborativos FAC/RS”, no Atelier Subterrânea, Porto Alegre, BR. 27/10. 2014 – Round Table. Encontro Circuito Montagem, TransLab, na Casa Duplan 15/07, Porto Alegre, BR. Collaborative Projects 2022 - "Tactame" Installation - DelMig Collective: Blanca Somoza, Helena Gali, Ignasi Àvila Padró, Joana Burd, Mario Salinero, Neus Martinez Farran e Sara Jansen. Gramado, Rio Grande do Sul, BR. 2022 - “10 deserts of errors”, project contemplated by the Rumos program of Itaú cultural. Main artist Leo Caobelli, BR. 2020-21 - Earth Pulse Art Installation project - com Darya Efrat e João Dias-Oliveira. Aveiro Criatech Artist Residences. PT. 2019 – Art installation “Porn Oasis” with the artist Leo Caobelli. 2019 – Video mapping and photo performance “corpObra” with the artist Charlene Bicalho at Art Residency PPP Península Motorhome. 2019 - Art Installation “Dizem que o Brasil está polarizado” with the artist and psychoanalyst Laura Pujol. 2018 - Vídeo and vídeo mapping “Vibratory Body” with dancer and performer Paula Finn 2018 - Vídeo “Buraco” with Carina Macedo. 2016 – Art Installation “A Fugitiva” with artist and professor Alberto Semeler. 2016 - Co-authorship, production and assembly of the exhibition. “Will of execution” with the artist Cadu Peixoto. 2015 - Video-Installation “para PerroLibre “ with the artists Cadu Peixoto, Cacau Weimer, Gabriela Stragliotto e Priscila Kisiolar. 2014 – Sound Installation “Tagarelas” in collaboration with the writer Dieter Axt. 2013 - Creation of “Acervo Independente" with Cadu Peixoto, Cacau Weimer, Fernanda Medeiros, Priscila Kisiolar, Manoela Furtado e Zeh Poeta. Languages English Português Castellano Català Collections Museu de Arte Contemporânea do Rio Grande do Sul, BR. Centro Municipal de Cultura Ordovás, Caxias do Sul, BR 2010 - present 2010 - present

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora 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 Four Islands, 2013 Electronic sculpture Membranes of keyboards, wires, arduino, acrylic boards, plastic pipes. 120 x 80 x 12 cm 7 kg “Four Islands” is a deconstruction and simultaneous reconstruction of twelve computer keyboards collected in an electronic waste dump. I used the internal part of the keyboards: the plastic membranes, the information matrices, the transmission chips and microprocessors connected in four different islands via arduino. The final piece is a kind of map of overlapping connections. 1/1

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora 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 Formigário Sonoro, 2023 Formigário Sonoro is a biofabricated and biohybrid ecosystem that investigates relationships between surveillance, cooperation and tactile listening for insects and humans. In the image we penetrate the intimacy of a community, in its environments and details. The activation between cause and effect is carried out through sensors and microphones, where energy, rhythm and frequency are driven by behaviour and displacement in the rooms. 00:00 / 03:30 1/1 Such sound immersion was mixed from the capture and communication between two residences: that of the ants and that of artists in the 8th edition of KinoBeat Festival. Between two sonic axes, the first is presented from the abdominal and tactile vibrations in the inner dialogue of the communities. The second is driven by the anthill's chemical superorganism. The sensors of capturing light, ultrasonic movement, temperature and humidity guide the code in which the protagonists of the composition are the ants, in their way of walking, crossing, communicating and building a house. Techniques: Digital fabrication, data sonification, audio mixing, raspberry pi programming. Process: Capture of sounds in the residential environments, capture of sensor data, image, and video reproduction Support: 8th Kino Beat Festival Created at: Casa de Cultura Mario Quintana, Porto Alegre, BR. 1/1

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora 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 Vibrating Body, 2018 Wood, video (loop 2 ') and mapped projection. 150 x 200 cm From the desire to instigate movement and body space I invited dancer and performer Paula Finn to make a visual record that involved the vibratory movement. In the rehearsal I took vibrating motors with small batteries to be handled freely. Paula showed me how we could propagate the vibratory sensitivity through the joints, guiding the energy with the motors in a more localized way or transferring it to the whole body. From the significant body to the significant body, I directed the camera's focus to fragments of Paula's body in motion. The result of such repetitive movements by the performer turned into a mapped projection with three circular videos of two minutes. 1/1

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro A Virtual A Sonora 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 INVERVIEWS 2019-2024 As part of the PhD research titled 'Poetics of vibration: deployments of technology in contact with the body as affective memory,' interviews were conducted with four artists to delve into their methodology, prototyping, and the role of technology in their creative process. These online interviews, each lasting 30 minutes, were funded by the Scholarship Personal Investigator Novell (FI) Cuerpos Conectados, ES. The artists interviewed include Stefanie Egedy, Eduardo Montelli, Felipa Pinto and Anaisa Franco. The full content of these interviews is set to be published on [joanaburd.com/interviews] after the PhD research presentation. The anticipated publication date is in early 2024, consistent with a prior agreement. Stefanie Egedy Interview with Joana Burd 18 of August 2023 https://youtu.be/KO3Qb8vFTDI Stefanie's Website: https://stefanieegedy.com/ Audio Transcription: Burd > How does your creative process work? Can you articulate any kind of methodology you use? Egedy > When we're talking specifically about my research, or more broadly my approach to sound, my understanding evolved the more I engaged with it. I realized that the quality of the sound was paramount in my experience. At a macro level, I prefer a sound generated at a high quality. It's not necessarily about right or wrong, but more about the clarity and pleasantness of the sound wave. The speaker system plays a crucial role in the creative process. In my perspective, a bad speaker can ruin good work. If we're not talking about my specific work with low frequencies, that's it. "Bodies and Subwoofers" serves as the title because it encapsulates everything - the name of the work, the methodology, and the research. The methodology usually involves three steps. The first step is understanding the dimensions of the room. Initially, my approach was focused on the minimum number of speaker capsules needed to achieve the sound massage level I deemed important. However, my perspective has shifted. Now, the first step is understanding the room itself. I've realized the sculptural aspect of the speaker and the experience it offers to the listeners is vital. So, it's about the speaker as a sculpture and harmonizing it with the room rather than just the sound it produces. Once that's established, the second step is to understand, in that room and with that speaker arrangement, which low sound frequencies have very few or almost no tonal characteristics and are therefore perceived by the body. These are what I term "transparent". While it's impossible to eliminate all other wave returns that create additional sonorities in the room, I choose the ones that are more pleasant or those that, in my view, don't cause discomfort due to the room's vibration. The final step, once there's clarity about the room's sound, is the compositional part. This involves selecting and arranging sounds for the piece. An essential aspect of my work is understanding the audience and the context. The contextual relationship is crucial. If I'm designing a piece for a club, it might be more rhythmic, referencing faster electronic dance music. But in a more relaxed setting, I have greater freedom. I like to explore rhythm, but I can also delve into other compositional forms that might demand more from the listener. It's not always immediate, like electronic dance music. Burd > Do you believe that the vibration or the effect of your work can be considered a mode of knowledge or self-awareness? Egedy> Yes, I absolutely believe so, 100%. The vibrations and the effects they generate are more than just sensory experiences. They tap into deeper levels of consciousness and allow individuals to connect with aspects of themselves that might remain dormant otherwise. Burd > When we work with vibration that is not just limited to our ears and our brain, per se, how do you view this? Do you think about it? Do you put an emotional intention behind it or is it more of an aesthetic approach when you arrange it? Egedy > Entirely, it's deeply intentional. In the early days, there was always a connection to the body, which drew me to frequencies because I felt them. But today, for me, it's undeniably an intense experience. The way I orchestrate it, many people have never felt it before. My goal is for the participant to have a transformative journey - a before, during, and after. Ideally, the "during and after" would be feelings of relaxation, reduced stress, tension, anxiety, and even physical pain alleviation. My art is increasingly becoming therapeutic, not just aesthetic. It's about creating a pleasant, inviting, and relaxing experience so people can be open and vulnerable. I see people striving to connect with my work. In my perspective, for my work to achieve its desired effect, it cannot be something aggravating. I could create a sound that's annoying, where no one would want to remain in the room, but that's not my aim. I want the opposite. While what might be soothing for one person could be disturbing to another, given the intense nature of the sound, I strive to make it as universally inviting as possible. Burd> Do you always listen to your pieces in the intended environment before setting them up? I understand there's a vast difference between experiencing a sound art piece, say with quality headphones at home, and working on a composition in a real space, much like you explained in your creative process. There's the dimension of the physical space, the equipment setup, and how it's all orchestrated. How does that work for you? Egedy> My work is undeniably site-specific. That's what I find magical about low frequencies. Certain elements simply won't work in some spaces, while others might. Every space is unique, just as every organism is. There isn't a one-size-fits-all approach. I have to be in that space, with the final arrangement, fully immersed. Of course, there are preparatory levels I can execute from my computer, but a simple repositioning of a speaker can entirely change the sonic experience. I must be there, I must mix for that specific room. It's 100% dependent on being present in the environment. While it's a wonderful thing, it also can be seen as a limitation. I can't remotely work on it. I also wouldn't trust anyone else to take my piece and adapt it to a space. I have a specific vision, and only I truly know how it should be executed. Burd> From what I've observed, does it make a difference to you whether the space is indoor or outdoor? How do you navigate this relationship? Egedy> It's a constant dialectical relationship with all elements. I view reality as a vast dialectical interplay of things. We live this at all levels, whether we want to or not. It's just another element, another iteration of that. If you've seen my recent video from the mountains, the one I shot at the castle, you'll understand. I created a piece in the mountains, and it was quite challenging. After working so much, like in urban industrial settings, testing these sounds against nature was a whole new game. So, being in the midst of greenery, I had to ask myself, "What makes sense here?" Yes, every facet of the work, from the lighting conditions, whether or not there'll be seating, how often it plays, and at what time - all these aspects are site-specific and consider the unique conditions and relationship of the location. But I believe that's how life should be. When you're conversing with someone, you have to understand the context, the hermeneutics of the situation. Everything is contextual. Burd> How does the relationship between silence and auditory stimulation function in your work? Egedy> In my work, I strategically incorporate moments of silence juxtaposed against distinct auditory signatures, which might be intense for some, especially if it's an unfamiliar sensation. But I also use a kind of sonic signature that might be overwhelming for some, simply because it might be something they've never experienced before. I actually enjoy that challenge, that push and pull. It's incredibly potent. So, I tell my audience, "Take that in!" [Laughs]. I view my work as a medium to confront avoidance. Maybe you don't want to acknowledge a knee problem, or perhaps you're ignoring a friend's plea for help. In a way, my work serves as a metaphor for the ignorance we all, at times, display in our lives. With my pieces, you're forced to feel. There's no escaping it. [Laughs] Many people have shared their emotional reactions with me. Typically, it ranges from relaxation to excitement. Some even mention a kind of sensual arousal, but mostly it's just an overwhelming rush of emotions.

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