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 Meirele is a recordist, sound artist, and researcher who makes use of field recordings to compose site-oriented projects. Her projects often have a multi-sensorial and holistic approach to ‘site’ which draws from her studies and experience in areas such as field-recording, site-specific visual arts and design. In her work, Matilde investigates the potential of listening across the human spectrum, as well as extra-human sound, as a ways to encounter and articulate multiple experiences of the world. She presents works in the form of concerts, installations, physical and digital releases and community-based projects.

 

Her work often highlights collaboration and participation as catalysts for a shared understanding of place, developing project-based or long-term collaborations. Matilde is also part of OSSO Colectivo, an interdisciplinary collective based in Portugal.

 

She holds a PhD in Sonic Arts from the Sonic Arts Research Centre, Queen’s University Belfast, and is currently a Postdoctoral Researcher 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 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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