ASYNCH is a live performance that combines foley and sampling, field recording and audio morphing. Based on the ideas of sonic fiction, it is an acousmatic experience of a film that has not been done – and if it were, it would be asynchronous. It’s a confusion where one sound might sound like another, a sound as-if, a magnified detail and everything that shakes (crumbles into dust).

ASYNCH is also the return of a promise, a function that retrieves a value and resolves it. It’s a hold back.

The performance is a release of Pinheiro’s first attempt to make an EP. It consists of 6 individual pieces organised (and failing) as the format of a (foley) song. It invites critical listening and ear cleaning.

2024 – 7′ – CZ

This composition is made walking through the park with a binaural set. It focuses on the perspective of the many dogs that visit this park daily. By default, it also includes their humans and a few other elements.

It was commissioned by EBU for World’s Environmental Day.

Many thanks to Ladislav Železný.

2022 – 48′ – CZ/IS

A documentary film by Ivo Bystřičan.

Part of the project “Future Landscapes“, sound archive here.

2022 – stereo + 6 bluetooth speakers – 30 min

reticências explores FM, noise, repetition, rhythm and randomness. It is an unfinished sentence, a never-ending story, it’s a continuation, a transition in between. It departs from a broken radio that speaks on its own towards the exploration of its patterns and spatial findings. It is noise and texture. It is a sonic drama.

The original radio recording is played “untouched” from the bluetooth speakers and it can be heard here on archive.org. In the main P.A. system… I answer it.
The full performance is available in video thanks to Punctum/Radim Labuda.
The bluetooth speakers are from Synth Library Prague. Thanks to Mary C.

Performed at

• AUSLAND (Berlin, GE), Jan 2025;
• Dx10 (Prague, Cz), Jan 2023;
• MeetFactory (Prague, Cz) on Nov 2022;
• Moozak (Vienna, Austria) on Oct 2022;
• Prisma Estúdio (Lisbon, Pt) Set 2022;
• SONOSCOPIA (Porto, Pt) on August 2022;
• Punctum (Prague, Cz) on April 2022.

2020 – 4 channels – 8 min

A fixed-media composition to be premiered at the Bangor Electroacoustic Music Festival.

A research exposition about this composition is published in the Research Catalogue.

2018 – 4 channels – 25 min

2014 – front array/back array – 20 min

For it is the second act, it follows the idea of a main character established in “curiosity did nothing to the cat”. However, that character did not follow a logic social context previously, and so it continues. This piece is searching for ways to frame sound, in its specificity and detail, as a sonic scanner willing to find an internal logic in its own fictionality.
The sounds in use are a slightly counter-intuitive of agglomerated sounds and their hermitic same in content and form.

2014 – headphones – woundwalk

Composed in collaboration with Gyz la Rivière, for Soundtrack City and Worm. It is permanently available at Worm (and at soundtrack city).

The soundwalk ‘2.2 kilometres’ starts at WORM towards Eendrachtsplein through the entire Nieuwe Binnenweg and ends at the Lage Erfbrug. It consists of recordings from the Nieuwe Binnenweg and other parts of the city, as proposing a soundscape exchange. The piece is also concerned with a sound historical memory of the street. For that reason, there is a certain revivalism implied by the use of specific sounds that once belonged there.

2012 – 7 channels – 12 min

This piece is made for 7 speakers, which are placed under the audience’s seats. This first part is ca. 10 minutes long and it is the beginning of “teatrise of a purr” which lasts ca. 60 minutes and works the idea of sound theater.

2012-15 – 5 channels – 20 min

This piece aims at riding the listener through a walk that should sound both familiar and foreign. The sounds have a strong visual reference, for it is objectively abstract.
This composition started as an attempt to find balance between the idea (the abstraction) and the material itself (the object), thinking of the legitimacy of the former and the possibilities of the latter. It aims at generating different sensibilities in relation to reality and fiction. It is a walk, which starts after its beginning and ends before it is over. It wanders between what is present and what is not, what was been included or not; and how much weight can absence have.

2011 – 4 channels + headphones – 17 min

“to know the momentum of a society, measure the footsteps of its citizens” (r. murray schafer, in the tuning of the world).
The curiosity to break geographical limitations, trying to be in different places at the same time, in between, the possibility of being nowhere, the edge of a continuous transition. Seeking for unbalanced positions, that of the surroundings, allowing my body to swing freely, throughout intuition, creating micro routines in an improvised perception, learning with my own ambiguity of listening, making choices. And wondering about listening and how I can open the door for an invitation that has no claims beyond the act itself of inviting.

A composition for 4 channels + headphones premiered in studio loos in The Hague.

2012 – str – 10 min

This is the first piece studying the twelve stages of the Hero’s Journey accordingly to Vogler. (folowed by “quem conta um conto” and “chapter three, in betweens”)

It makes use of a long recording done in a bus, with the idea of “sound character” underneath. To listen is a condition that discloses the multiplicity of being in a place. It is to choose a focus, and the freedom of that choice. in the bus is in a place-extension that harking is.

this piece relies on the listening context and conditions, therefore it is not available online. 

2011 – str – 8 min

quem conta um conto, II is a study in narrative. The individual sounds in the piece grow as characters, based on film theorist Chris Vogler’s twelve stages of the Hero’s Journey. It juxtaposes sound spaces to join together disparate times and places; ignoring the physical impossibilities of their junction in order to potentiate the conflict that can emerge from their friction.

more info at radius.

2011 – str – 5 min

It alternates between a sharp loyalty to the original actions of the event and its surrealism, wondering if this story can be told and perceived in different ways and influence one another.

2011 – str – radio – 4 min

my contribution for the 55 minutes collective work, within the context of aural tectonics lectures (Raviv Ganchrow, Institute of Sonology).
a collection of sounds, somewhere between unplanned and detailed choices, which result in the idea that sound has no borders or physical limitations (…). den haag here & there is also the product of the first living experiences i went through in this city.

2011 – 8 channels – 19 min

an exercise in the concepts of sound documentary and sound fiction. it aims to be a pleasant journey into this universe of sounds, until one is able to liberate oneself and the sounds from any referential logics.
: swing lives is my first multichannel work.
: s’wing lives was awarded the 1st prize in the category of “electronic sonorities” @ FIM.

2009 – str – 10 min

a sound documentary of the Swedish city växjö. a place surrounded by nature, where all the seasons make the difference, and a rich source of sounds. time kept passing, sounds kept changing and thus the city’s identity too.