Matilde Meireles

United Kingdom (residence), Portugal (citizenship)
research interests: Extended listening, Multi-sensoriality in sound, Physicality of the virtual, Participation and collaboration in Sound Art, Documentation as a creative tool, field recording, Walking, place-making, and mapping, Micro and extra-human sound
affiliation: University of Oxford
en

Matilde Meireles is a sound artist and researcher who makes use of field recordings to compose site-oriented projects. Her work has a multi-sensorial and multi-perspective critical approach to site, where Matilde investigates the potential of listening across spectrums as ways to encounter and articulate a plural experience of the world — human and otherwise. These range from the inner architectures of reeds and complex water ecologies, to the local neighbourhood, resonances in everyday objects, and the architecture of radio signals. She often highlights collaboration and participation as catalysts for a shared understanding of place, developing project-based or long-term collaborations. Her work is presented regularly in the form of concerts, installations, releases, and community-based projects.

 

Matilde often highlights collaboration and participation as catalysts for a shared understanding of place, developing project-based or long-term collaborations. She holds a PhD in Sonic Arts from the Sonic Arts Research Centre, Queen’s University Belfast, and is currently a Postdoctoral Research Fellow at University of Oxford in the project Sonorous Cities: Towards a Sonic Urbanism (SONCITIES).

research

research expositions

  • Trigger Place - A Game of Sound and Architecture (2017) author(s): Matilde Meireles, Diogo Alvim published in: Journal for Artistic Research
    "Play" was a project developed by Matilde Meireles and Diogo Alvim with the participation of experimental filmmaker Richard O'Sullivan. This multilayered performance was specially conceived for the annex of the Physical Education Centre at Queen's University Belfast, a building composed of several squash courts and an audience area. The project encompassed live music (a brass ensemble), electronics, video projections, and a live squash game, all affecting the perception of the site. This building became the main character of an immersive acoustic experience, where a game of squash was the starting point to explore ideas about architecture and place through sound. The squash courts were subject to acoustic processes extrapolated from two of Alvin Lucier's most important works—"Vespers" and "I am sitting in room". Also the floor markings were manipulated, as a reference to Edward Krasinski's obsession with a never-ending line. These extended beyond the performance space to reveal unexpected connections.
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  • Multiple Perceptions of the Everyday Unfolded: The Case Study of Sunnyside (2022) author(s): Matilde Meireles published in: Journal of Sonic Studies
    This article introduces the project "Sunnyside", an album and composition created using extended recording techniques inside the domestic space of my home during the initial Covid-19 lockdown in Belfast in 2020. While there was widespread public discourse around the ways in which public and outdoor spaces were changing during the pandemic, there was relatively little discussion concerning the changes occurring in indoor and domestic spaces. "Sunnyside" was an attempt to sense, analyze, and represent those changes and examine what they might mean. The following discussion draws on ideas of critical phonography, systems theory, situated knowledge, and interconnectivity to illustrate the project’s refusal of the physical boundaries of the home under lockdown. This critical reflection on everyday routines underscores the project’s relationship with memory, place, and the sonic documentation of everyday personal auditory experiences while opening up a discussion about social networks, both immediate and distributed.
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