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Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro Tactame A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Technological Sensitive Where do the bubbles go Vibratory Body Inside Voice Porn Oasis Knot in the throat/videomapping Keys Anguish Massager The box Atucanation Fare Place They say Brazil is polarized Artificial Tanning Cradle Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca Anthozoa Digitalis, 2020 Ilana Bonder & Joana Burd Interactive installation with AR. Interactive installation with augmented reality technology that invites the audience to touch with their eyes. An empty environment becomes visually tactile through a virtual organism that appears as the user walks. Touch is invoked through colors, textures, objects and sounds. In a parallel reality, this living organism reacts virtually to each user differently. In these times of social distance, our digital communication is carried out through the 'visual organ', as well as through touch, that is, with the fingers, in the phenomenon of the touchscreen. In this experience, the touch and the route are guidelines for the discovery of a new virtual world, or even an interior to be unveiled. 1/1 Images of Aveiro Criatech Digital creativity & technology. October 12-18, 2020 Museu de Aveiro/Santa Joana – Capela dos Claustros, Aveiro, Portugal Aveiro Criatech

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro Tactame A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Technological Sensitive Where do the bubbles go Vibratory Body Inside Voice Porn Oasis Knot in the throat/videomapping Keys Anguish Massager The box Atucanation Fare Place They say Brazil is polarized Artificial Tanning Cradle Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca Inside Voice, 2018 Chair, speakers, led tape, microphone programming in Arduino, PureData and P5. Variable dimensions. . Inside Voice is an invitation to feel and listen with body through a kinesthetic chair. The embedded technologies transcode the sound picked up by the microphone and transmit it to the chair. To amplify the vibratory aspect the cones were removed from the speakers and we inserted and amplifier and a Arduino between the input (microphone) and output (chair). In addition, the work has a computer that activates PureData software, making the a bass and slow sound. The treble is eliminated and with it any recognition of the words being spoken. Contributors: André Diestel, Felipe Merker Castellani, Camila Brum, Ilana Bonder and Matheus Schiaffino. Interaction: Form a pair. While one person speaks into the microphone, the other sits in the transparent chair to feel their vibrations. 1/1

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro Tactame A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Technological Sensitive Where do the bubbles go Vibratory Body Inside Voice Porn Oasis Knot in the throat/videomapping Keys Anguish Massager The box Atucanation Fare Place They say Brazil is polarized Artificial Tanning Cradle Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca Silent Mode 2.0: Body, 2021 (version in Castellano) Creation and Direction: Joana Burd Sound design: Nikolas Gomes Interpretation of texts: Ángela Hernandez y Luzia Paramés ETOPIA, Centro de Arte y Tecnología, Zaragoza, ES. Support: ETOPIA, Ayuntamiento Zaragoza, Universitat de BarcelonaIdioma: Castellano Interview Silent Mode at Metropolis: Minute 12:24

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro Tactame A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Technological Sensitive Where do the bubbles go Vibratory Body Inside Voice Porn Oasis Knot in the throat/videomapping Keys Anguish Massager The box Atucanation Fare Place They say Brazil is polarized Artificial Tanning Cradle Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca 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 Tactame A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Technological Sensitive Where do the bubbles go Vibratory Body Inside Voice Porn Oasis Knot in the throat/videomapping Keys Anguish Massager The box Atucanation Fare Place They say Brazil is polarized Artificial Tanning Cradle Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca 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 Tactame A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Technological Sensitive Where do the bubbles go Vibratory Body Inside Voice Porn Oasis Knot in the throat/videomapping Keys Anguish Massager The box Atucanation Fare Place They say Brazil is polarized Artificial Tanning Cradle Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca 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.

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro Tactame A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Technological Sensitive Where do the bubbles go Vibratory Body Inside Voice Porn Oasis Knot in the throat/videomapping Keys Anguish Massager The box Atucanation Fare Place They say Brazil is polarized Artificial Tanning Cradle Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca Cadu Peixoto and Joana Burd Fare Place, 2016-2019 Bus roulette, Arduino, 16x2 liquid crystal display and ultrasonic sensor. 120 x 150 x 160 cm When entering the exhibition the public comes across a bus roulette from the 60s. During the exhibition the work demonstrates through a digital counter the division of the total cost of exposure among all who passed the roulette. Equation = No. of Visitors [captured via roulette] / Total Exhibition Budget [in $ +0.00] 1/1 * This art work was created for the exhibition "Will to Execution" and today it is part of the Collection of the Museu de Arte Contemporânea do Rio Grande do Sul MACRS, Brazil.

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro Tactame A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Technological Sensitive Where do the bubbles go Vibratory Body Inside Voice Porn Oasis Knot in the throat/videomapping Keys Anguish Massager The box Atucanation Fare Place They say Brazil is polarized Artificial Tanning Cradle Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca EarthPulse, 2021 Artists: Darya Efrat (IL), Joana Burd (BR) e João Dias-Oliveira (PT) Technique: Mixed-media Installation EarthPulse is an immersive environment that invites the public to engage in experiencing vibrations as a corporal and collective reminder that earth is a living organism, one which we inhabit and whose energy and behavior we constantly alter. [+] With this project, we wish to bring the powerful planetary movement of tectonic plates and their continuous dissemination of energy closer to us, as a way to reflect on risk and instability. The audience steps onto a grass-covered wooden platform, and through sound, bass-vibrations and touch, experiences the earth as a living organism - one which we inhabit and whose energy and behavior we continuously alter. What instability does the movement of the earth present? How vulnerable are we? By reflecting upon the earth’s inherent and continuous movement, Earthpulse portrays a corporal-temporal journey, connecting to the past, and by inviting the public to experience the space in the present - offers a future. 1/1 1/1

Força i Pell Living Capsules Solitude Lullaby Formigario Sonoro Tactame A Virtual A Sonora A Carinhosa As_automatas.web File.img.mp3 Earth Pulse Anthozoa Digitalis Silent Mode 2.0: Body Silent Mode Technological Sensitive Where do the bubbles go Vibratory Body Inside Voice Porn Oasis Knot in the throat/videomapping Keys Anguish Massager The box Atucanation Fare Place They say Brazil is polarized Artificial Tanning Cradle Four Islands The chatterboxes Other objects and experiences Other video Interviews Serviços Resultados de busca 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