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.

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.

2018 – 4 channels – 25 min

2016 – 4 channels – mixed media

A live performance that looks into the idea of sound-acting. It was premiered in Barcelona, played in Lisbon, Prague and The Hague.

“Something to Hold Onto” is an exercise on white noise.

It belongs to a series of studies within the project “Acousmatic Foley”. One of the main ideas is that of treating sound as an actor. Thus, the piece explores an attempt to make a single sound sound-like many other things. By recording an object on stage and sampling it live, the sound proceeds with other forms in order to produce other sorts of suggestions beyond what was seen as the original source of it. The title of the piece is borrowed from a project originally created by Leigh Landy (1990) and followed up by Rob Waele (2006), the “Intention/Reception” project, which studied the relationship between the listener and the sounds, the listener’s ability and willingness to figure out what is happening based on what sort of information is given beforehand. For that reason, the piece starts with providing the visual source of the sound, to be held onto as a reference.

2016 – 4 channels – 30 min

For a residency in Q-02, Acousmatic Foley took Chantal Akerman’s first short movie “Saute Ma Ville” (1968) as a case study. Throughout Akerman’s sound-work, the project foregrounded concepts as “sound-motif”, “sound-actor” and “sound-prop”.

This residency was kindly authorized by Chantal Akerman’ State, through the Beligium Cinematek.

The performance starts of with Live Foley for the silent parts of the film, and then proceeds acousmatically with the samples taken from the original track. It has been performed at PAF (2018) and Ponrepo (2019).

In 2020, a study of the movie has been published in Iluminace (2019/4).