Bone Whisper Vibration eavesdropper 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 Knot in the throat, 2019 Mapped projection over wire, paper and plaster sculptures. Arduino with presence sensor, 2 speakers 4ohms 15w. Variable dimension Knot in the throat is a collective of sculptures that react with visual and sound forms to the audience's presence. In a representation of virtual entities and through a presence sensor, the sculptures behave reacting with humanoid expressions (eyes) and with sound elements. 1/1 Why do voice assistants have a female voice? From the second decade of the 21st century, the most well-known voice assistants are virtually functional and have a female voice. Cortana (Microsoft), Alexa (Amazon) and Siri (Apple) are algorithms created by mostly male teams. Their submissive, seductive, helpful and available voices that respond our sound signal puts many questions in terms of gender, whereas the woman's place in her virtual objectification as a service provider.

Bone Whisper Vibration eavesdropper 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 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

Bone Whisper Vibration eavesdropper 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 Silent mode, 2019 sound art installation 7'40" loop 5.1 audio "Silent mode" is an invitation to pause to listen with the skin, with the body. An immersive environment in which the public is invited to sit on an acoustic bench surrounded by speakers. The narrative that runs through the speakers is based on texts on improvisation by Walter Smetak, in which the voice of the recorded artists is slowly transcoded into smartphone vibration patterns. It is possible to feel the installation through cochlear (auditory) and bone (tactile) listening. Although the title of the work encourages silence, we witness a landscape of noise in 5.1 surround audio. 1/1 For the installation's sound system an immersive environment is created configuring the spatialization of ambisonic surround audio. The sound distribution occurs in the three axes (height, width and depth), from six individual audio channels, resulting in a sensory and perceptive engaged zone for those who are in the installation. In addition to the five channels of spatial distribution of sound, there is also a sixth audio channel dedicated to body listening, using a subwoofer speaker located inside the wooden bench in the center of the space. A low frequency effect channel is offered which transmits impact, pressure and weight, leading to extra auditory and bone sensory sensations. In the transcoding of the sound a vocoder is used. The voice is transformed into a mini-motor vibration from sampling ringtones. The use of this sample becomes the carrier of the voice formant, so that the recitation of the poem seems to be done by the device. 1/1 Creation and direction Joana Burd Sound design Nikolas Gomes Ferranddis Interpreters Bruno Fernandes and Bê Smidt Image capture and editing Carina Macedo _________________________________________________________________ Texts read by interpreters are adapted from the book Walter Smetak (2019). O enxerto do Takaká e outros textos. Editora: Edufba. Edição: 1ª. ISBN: 978-85-232-1832-4. The laugh without laughter The laughter without laugh The cried laugh The laugh of ignorance The laugh replacing the speech The laugh replacing the answer The answer replacing the laughter As artists, we transform “silence” into images and sounds. Images and sounds transform the artist into silences. Silence is the great source of the single cause. If there were no rumors, the silence would be very boring. Rumors are the faithful reproduction of silences. We are losing sight of the silences. We create machines that are much more sensitive than our human senses. So; we put "silent mode" on the machines so that they do not disturb our silence. Because machines also have their own lives: the noise. The “human” machine, on the other hand, is quieter, does not perceive its inner noise. In this digital world we have new possibilities for speech and new formats of silence.

Bone Whisper Vibration eavesdropper 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 chatterboxes, 2014 Sound art Installation 5 Obsolete phones, 5 stethoscopes, 5 mp3's, 5 recycled wood cases, matte acrylic, black acrylic paint. 14 x 17 x 27 cm (each) Installation composed of five acrylic boxes arranged on a counter. Each contains an obsolete cell phone and a stethoscope. On the mobile phones (from 1992 to 1999) we can see the simulations of demo modes. In stethoscopes we can hear narratives in audios about loss, missing, love, dream and empathy. 1/1 I – Text: Dieter Axt Voice: Milton Burd - 39” II– Text: Dieter Axt Voice: Felipe Gonçalves e Priscila Kisiolar- 1’39” III – Text: Dieter Axt Voice: Luana Santana - 1’26” IV - Text: Joana Burd Voice: Laura Pujol - 1’45” V- Text: Dieter Axt Voice: Joana Burd - 4’09” Texto - I 00:00 00:00 Texto - II 00:00 00:00 Texto - III 00:00 00:00 Texto - IV 00:00 00:00 Texto - V 00:00 00:00

Bone Whisper Vibration eavesdropper 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

Bone Whisper Vibration eavesdropper 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 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"

Bone Whisper Vibration eavesdropper 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 Bone Whisper (2026) Bone Whisper (2026) amplifies the familiar experience of vibration and transforms it into an intimate, bodily form of listening. At the center of the piece is a stone that vibrates through bone conduction. When touched, the vibration travels through the hand, the chest, and the head, felt as if it were coming from inside the body itself. Listening no longer happens through the ears alone, but through skin, muscles, and bones. Visitors are invited to hold the stone, move it across the body, bring it close to the chest or face, or share it with others. As the stone changes position, the vibration changes too. Sensation shifts, attention drifts, and perception becomes spatial and embodied. In doing so, the work treats vibration as a form of knowledge. It challenges the idea that understanding happens only through vision or language, proposing instead that learning can take place through touch and bodily sensation. The stone becomes both an interface and a pedagogical tool, translating invisible forces into felt experience. The stone vibrates in different patterns that form a subtle language. Pulses, pauses, and silences act as a grammar. Irregular bursts can heighten alertness or uncertainty. Barely perceptible vibrations invite the body to complete what is missing. Longer moments of stillness build anticipation, allowing sensation to linger. Meaning emerges not through words, but through rhythm, intensity, and time. Developed this year especially for the Madrid Design Festival in collaboration with Francisco Estivallet, Bone Whisper draws from Joana Burd’s research in haptic aesthetics. The piece proposes touch as a way of listening and invites the body to become a resonant surface where communication is felt, shared, and imagined.

Bone Whisper Vibration eavesdropper 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 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.

Bone Whisper Vibration eavesdropper 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 Vibration Eavesdropper [2024- ongoing] Among an ever-restless sea of air, our bodies experience a constant flow of vibrations, also known as sound waves. As previously published in Sound-vibration: Relations between bodies, low frequencies, and multisensory experiments, I consider sound-vibration as a mode of multimodal listening, and we find ourselves at the intersection of an interdisciplinary exploration and the immersive territories of sonic art. This singular mode not only challenges the traditional confines of auditory perception but also invites a deeper engagement with the physicality and resonance of sound, disrupting the boundaries between the self and the surroundings, where the world becomes porous. Within the Poetics of Vibration, we may encounter a vast field of unconventional practices that, in some ways, question the body, while in others, simply invade it without permission. As I understand it, the exploration of sound extends beyond mere auditory perception, encompassing both cochlear (physiological processes within the ear) and non-cochlear (emotions, cognition, and contextual influences) phenomena, which are considered structurally interchangeable in relation to theories of autonomous or independent effects. Sound's inherent connection to multiple senses positions it as a multi-field subject, widely examined by experts for its integrative impact on human experience. While academic and scientific research often aims to control, replicate, and manipulate sound, its influence on us can be profound, untamed, and deeply ingrained in the natural world. Thus, the forthcoming discussion, once again, seeks not to segregate sound into a solitary sensory experience but to embrace its integration into our daily lives. By doing so, it aims to illuminate sound's vast sensory interconnections and its unique potential to enrich our understanding of the energies around us. However, one might ponder the energies that reside beneath us, what transpires at the auditory level and, subsequently, at the vibrational level in locales that are neither alive nor frequented nor felt. In the realms where everything traverses, the water, whether sullied or pure, the gas that fuels heat and flame, and the light that powers our energy, In a profound leap towards an inner exploration of our thoughts and skin perceptions, we ponder: how do these locales resonate beneath our soles, or indeed, how does one's body perceive such vibrations? This investigation embarks on a commitment to exploring vibrational phenomena, aiming to delve, through gathered membranes in the unseen septic systems, over the concealed drainage networks. The intent is to attune one's body to listen to the parts entrenched in the underground, firmly planted in the subsoil of our cities. Our aspiration is to move beyond traditional acoustic methods, focusing instead on sound's ability to be felt as echo/physical vibration. This methodological approach broadens when it encapsulates the desire to morph the complex dance of sensory interactions into a palpable, haptic and auditory tale. In this perspective, we intend to share sound-vibration challenges and expand the boundaries of how sound is experienced, highlighting its role as both a medium for artistic expression and a channel for meaning-making in multimodal practices. "Vibration Eavesdropper" presents a markedly different experience than I never produced. Is an extend invitation to encounter a distinct kind of unseen vibrations, ones that could be felt in a clandestine manner, offering an uplifting and pleasurable way to engage with those waves. With the support of geophones and hidrophones acting as auditory lenses, we captured these hidden tremors what involves a negotiation between the mechanical nature of waves and the ethereal nature of digital signals. Through the process of measuring and documenting the rhythms of manufactured metropolises, we gradually discern the motion of particles as a potent indicator of underlying chaos seeking its organic equilibrium. Our aspiration is to move beyond traditional acoustic methods, focusing instead on sound's ability to be felt as echo/physical vibration. Sound Diaries is a project initiated in 2008 with the goal of documenting everyday life through sound, resisting the predominance of visual images by capturing a variety of sounds such as those of vending machines, luggage carousels, toasters, escalators, boilers, garden sheds, and wheeled luggage. Inspired by the idea of exhausting the subject and not being satisfied with a superficial glance, the project promotes attentive and prolonged listening to explore often ignored sounds. This project was supported and coordinated by the Sonic Art Research Unit (SARU) at Oxford Brookes University. https://www.sound-diaries.co.uk/

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 Selected Group Exhibitions 2026 - Listening, Care, and Entangled Worlds , duo show with Taryn Mead, Madrid Design Festival, March to April 2026, Madrid-Segovia, ES. 2026 - Nada começa onde parece, 12 de março a 26 de abril de 2026, Casa Musgo, Porto Alegre, BR. 2025- Irradiacions, dobles, escletxes i cel·les cristal·lines , presented by the IMARTE Research Group (focus on Body and Technology). Venue: MUA – Museo de la Universidad de Alicante, Alicante, ES. 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 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. 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