[piː] [eɪ] hits

06.11.2017 - 17.11.2017


The loudspeakers are maybe one of the most primary interfaces between body, air and electricity. Its presence on situational relations between audio technology and social space is vaste and competes to the formation of topographies of machined air.


Produced in series and of various forms and shapes, the loudspeakers in its most diverse places, constitute inner part of technology which is apllied in social architecture processes and audio representations. However infiltrated by transparency logics and mass production universal utility, they take in a role with a character near to an invisible instrumental.


The listening is immediatly submitted to our mind, memory and imagination. It can make is more vulnerable to suggestions. Beyond it, implies on an intersubjective audio base there is a belief social contract, as the one that makes us believe that something from one moment to the other from it’s original place can be transfered when difused a record or a voice, involving this in a transubstantiation.


For this reasons, audio technology has been the elected vehicule as communication medium and social alignment, verifying its penetration into the public sphere. 


Within this program, we invited the production of sound/audio works to be spread out in public audio systems existing in Porto city and presente in the day to day city , has shopping centres, metro stations, parking lots, lifts, amongst others. This work comes together, breaks and /or overlaps to various other audio layers existing within quotidian, taking therefore other shapes. 


Invited Artists: Alejandra Salinas & Aeron Bergman, Maile Colbert & Rui Costa, Nicholas Bussmann, Pedro Tudela and Ricardo Jacinto.


"Utopian Impulse”  4’21’’ e 6’16’’, 2017

Pedro Escobar Requiem and Mass, with reverb and distortion via Adobe software.



“O fumo lá fora”, 40’14’’, 2017

“Out There” expression is frequently used as a reference to places outside of the city, and can be translated from it different emotions, longing to nostalgia, to worry and desire. From this “Out There”, had arrived to portugueses and californian cities smoke clouds and with them, fear and powerless feeling. “The smoke out there” is composed from sound recordings done at the North of Portugal and North California.



“Revolution Songs In An AI Environment”, 2017

Bussmann presents a group of eight themes corresponding to instrumental versions of revolutionary hymns from various parts of the world: American Revolution (1775), Islamic Revolution (1778), French Revolution (1789), German Revolution (failed, 1848), Paris Comune (failed, 1871), Corean Revolution (1949), Chinese Cultural Revolution (1966), Russion Revolution (1971).

This versions are interpreted by a disklavier passing by the revolutionary fever of this songs to the cold hands of an automatic piano.



“OUT_pt”, 13’03’’, 2017

Knowing that this sound piece will be disseminated in various places, “OUT.pt” pretends come to close listening sound-athmospheric-musical situations that relates with the interpretation space within a time cycle predictably and in consequence diegectic.



“333 partes e 37 segundos: para violoncelo solo”, 1´22´´, 2017

Parts & Duration:

Solo for any person and any instrument



Put the instrument on a horizontal position.

Distribute various contact microphones on your body, recording every signal separately, smashing it slowly with maximum pressure and constant speed. Organize every fragment in groups and present them on a very disciplined way. Difuse the recorded tracks in independent lowdspeakers on the same room. 

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