Évora, 1989. Academically, I have a background in acoustic ecology and sound studies, a master's degree from Universidade Nova de Lisboa (UNL) and an external research student at Simon Fraser University (SFU) Burnaby, where I studied and was supervised by Barry Truax in 2015. My research has been on active listening to the environment, within which I wrote eight-channel soundscape compositions that premiered at SFU Woodwards in 2015 (and have been composing multichannel pieces ever since). I wrote the article “Towards a Rewilding of the Ear”, published in the Cambridge University Press journal Organised Sound in 2017. During the Covid lockdowns (2020), I worked as a research assistant at Jordan Lacey’s Royal Melbourne Institute of Technology (RMIT) (Senior Researcher and Lecturer at the School of Design, RMIT) for his DECRA Research Fellowship, researching and building sound installations.

Professionally, I work as a sound artist, music composer and sound designer for the performing arts (theater and dance) and occasionally for film and video games (a long list of which can be found on my resume). I highlight the pieces: Dwelling Poetics of Dystopia #1 and Untitled #1 by my authorship, Sovaco de Cobra and Pink Fraud by Lander Patrick, Enjoy the Weather by Teresa Silva, The Importance of Being Marguerite Duras by Miguel Bonneville, Cordyceps by Parlamento Elefante and Blackface by Marco Mendonça.
I also worked as a sound recordist alongside Peter Cusack on the extensive filming of the documentary series on sound and listening SOA, which was shortlisted for the Sound of the Year award (Field Sound Recordist 2020). I worked as an official sound recordist for the Lisboa Soa sound art festival, directed by Raquel Castro, current president of the World Forum for Acoustic Ecology.

Since 2022, I have graduated and been working as a Passive Acoustic Monitoring Operator and Marine Mammal Observer in the offshore industry, protecting marine wildlife from anthropogenic noise.
I have always maintained an active and independent practice of exploratory sound and musical composition and creation of intermedial pieces from my interactions with the environment, which has been released on labels such as Discrepant, Sucata Tapes, Electronic Chronicle, Rotten/Trash, Shhpuma, Silent Water and Intravenous System, and has had pieces commissioned by Pela Terra (Art & Ecology Meeting of Idanha-a-Velha), Estufa (Open Gardens Lisbon), Teatro do Bairro Alto (Lisbon), Culturgest (Lisbon), Casa Independente (Lisbon) , MIA Festival (Atouguia da Baleia), Street Arts (Évora).

As a musician, I have performed independently as O Morto and Os Golfinhes, and with the bands Jibóia and Banha da Cobra at festivals such as Nuits Sonores (Lyon), Fat Out Fest (Manchester), Fake Jazz (Vancouver, CA), Quiet City (Vancouver, CA), Out.Fest (Barreiro), ZigurFest (Lamego), L'Agosto (Guimarães), Rescaldo (Lisbon), Street Arts (Évora), among others.

The most recent highlights are the participation with a multichannel sound installation in the Universal Private exhibition at the Nitja contemporary arts center in Oslo Norway, which was part of the Ultima Festival, and the Portuguese nomination for the Golden Globe for Blackface (for which I created the sound and music) in the category of best play.

Alongside all this, I have been a beekeeper and a mycophile, two important practices for my creative work.