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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 "Força i Pell" (Strength and Skin), 2023 This piece emerged from a dynamic interplay between bodies, vibrations, and machines, as two artists interacted with a vibrational sculpture, producing low-frequency resonances amplified by two subwoofers. This immersive experience invites the audience to engage in a fusion of visual and audio-tactile sensations, challenging modes of listening and encouraging them to physically feel the vibrations on their skin as the movements of the performers intertwine. In the presentation, techniques such as 3D sculpture and machine learning were used to create synthetic and natural voices. The interactive sculpture draws inspiration from the "Las Automatas" series, with its initial prototype acting as the input device. Within this interaction, the object transforms itself into a touch-based sound controller, capable of translating tactile interactions on its surface, including touches and gestures. As the artists move intuitively, the device's ability to transcode code into auditory expressions becomes palpably evident, resulting in a unique and immersive sensory experience. About the performers: Cata Aguayo is a performing artist, teacher, and researcher specializing in trapeze and contemporary dance. She graduated from ESACTO in Toulouse and UNSAM in Buenos Aires, and she is a co-founder of the Franco-Uruguayan company Olga CirqAnalogique. She directs the Aerial Research Laboratory at the Bonita Cooperative in Barcelona and works with various French and Spanish companies as a performer and choreographer. www.olgacirqanalogique.com Juana O. Kippes is a performing artist and movement researcher, specializing in aerial acrobatics, contortion, and dance. She is the founder of her own company, JÅNIKA, an interdisciplinary habitat where her creations blend visual and performing arts. She also works as a performer for other projects and collaborates with artists from various fields. She currently resides in France. www.janika.net Photographs and videos by Gülçin Bekar.

Master in Visual Arts, focuses her research on the dialogue between sculpture, digital media and technology. Sound Art Installations Art Residencies Vibration Las automatas Earth Pulse La Sonora Bone whisper (2026) Vibration Eavesdropper (2024-)) image Força i Pell (2023-24) Força i Pell (2023-24) Força i Pell (2023-24) Formigario Sonoro, 2023 Solitude Lullaby, 2022 Formigario Sonoro, 2023 Biohybrid Buzz, 2022-23 Living Capsules, 2022 Living Capsules, 2022 The Cuddler (La Cariñosa), 2021 The Virtual (La Virtual), 2021 The Sonora (La Sonora), 2021 Earth Pulse, 2021 Colab Darya Efrat | João Dias-Oliveira La Sonora, 2021 Earth Pulse, 2021 Colab Darya Efrat | João Dias-Oliveira Anthozoa Digitalis, 2020 Colab Ilana Bonder Anthozoa Digitalis, 2020 Colab Ilana Bonder Anthozoa Digitalis, 2020 Colab Ilana Bonder Silent Mode, 2019 Invitation - Silent Mode, 2019 Silent Mode, 2019 Fare Place, 2016-2019 Colab Cadu Peixoto Fare Place, 2016-2019 Colab Cadu Peixoto Fare Place, 2016-2019 Colab Cadu Peixoto Show More

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 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

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 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.

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/

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 Vírus, 2016 Mouse and needles 16 x 7 x 5 cm Wallet, 2016 Keyboard internal circuit, transparent tape and a "one real" banknote. 20 x 8 cm Teleprompter, 2017 Dual screen glass projection 240 x 140 cm Alberto Semeler e Joana Burd The fugitive, 2016 Techno-Installation HD television, Arduino, RaspberryPi and ultrasonic sensor. “The fugitive” was an experiment idealized together with the artist and professor Alberto Semeler, in which the observer's movement is the driver of the image's becoming. The closer the viewer gets to the screen, the more the image escapes, reducing to just one pixel. Cadu Peixoto e Joana Burd Tomada de Consciência , 2016 Socket mirror, wooden case, connecting pipe wire, brushed steel ruler. 43 x 38 cm The expression "Tomada de Consciência " in Portuguese means "awareness-raising" or even "becoming conscious" of something. It also could mean "Conscious Power Plug" if you literally translate the words, since "Tomada" means at the same time "power plug" and 'taking". * This art work was part of the exhibition "Will to Execution" in 2016 created collectively with the artist Cadu Peixoto selected via the Public Open Call of Porto Alegre City Hall, for the occupation of Galeria Iberê Camargo at Usina do Gasômetro, Brazil. Cadu Peixoto e Joana Burd Garoupa, 2016 Matte vinyl and gold foil sticker. 140 x 300 cm Most abundant fish off the Brazilian coast, also known as merelaço, piracuca or sea chicken. They reach huge sizes, up to 3 meters and over 300 kilograms in weight. Tasty, white flesh has bright colors and inhabits tropical oceans living near the rocks, as it is intelligent and hides from possible human threats. Active predator is hermaphrodite, early in sexual maturation are females and later become males. Animal chosen from the wide Brazilian fauna for the back side of the 100.00 (one hundred) reais banknote. * This art work was part of the exhibition "Will to Execution" in 2016 created collectively with the artist Cadu Peixoto selected via the Public Open Call of Porto Alegre City Hall, for the occupation of Galeria Iberê Camargo at Usina do Gasômetro, Brazil.

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 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

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 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

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 Atucanation, 2016 Interactive object Acrylic, arduino, key buttons, electronics components and wires. Code by Matheus Schiaffino 90 x 130 x 70 cm Interactive object in which the interactor commands a sound orchestra of notifications. As a conductor of chaos, the public is invited to relive the memory of calls and invocations of hidden messages, which are not present in the program. The origin of the expression Atucanation comes from the word in portuguese: Atucanar (direct transitive verb) means upsetting (someone or yourself), annoying (up), pestering (up), disturbing (up). 1/1