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Residuo sonoro post consumo
In collaboration with Iván Abreu

Residuo sonoro post consumo (Sound Residual Postconsumption) is a project done in collaboration with visual artist Ivan Abreu in which electric consumption is transformed into a sound and visual experience. This situation creates a net of consequences in which the common electricity counter is used as a “coupling-object”, able to articulate the system of electric consumption in the architectural space with a sound system, allowing the flows of both systems to become causals. This work occupies the sound registered by some “needles” set on the metallic disks of light meters, the rotation is then sequenced by manipulating the electric consumption of the place.



This action is played by various musicians from different musical backgrounds that play the chinese whispers game with their instruments. The musicians surround the public and try to transmit a sound information or instrumental gesture to the musician by therir side creating an enthropic system in constant transformation.


Sonata cromática

Sonata cromática (Chromatic Sonata) is a sound action that seeks to intervene the concert hall breaking the expectations of the common piano recital. The piece is done in collaboration with a piano tuner that tunes the piano live in a concert situation. While the collaborator is tuning the piano, the instrument is amplified massively through various speakers located in the presentation space. The sound from the piano is also processed and recorded in real time until the piano tuner ends his job.
Duration: Approximately 40 min.
Performed at Transitio_mx 01, Mexico City, November 2005


Mapa con percusión
In collaboration with Enrique Jezik

Mapa con percusión (Map with Percussion) is a sound action done in collaboration with visual artist Enrique Jezik in which a Mexico City Historical Center map is outlined on a steel plate. The map is drawn in various steps, first with a marker, then with an awl, and finally with a grinder. The piece ends when the more conflictive areas of the map are pointed by sledge-hammer hits. The sound resulting from scratches, grindings and hammerings is recorded and processed in real time during the performance, resulting in a dense, in crescendo noise landscape.

No cover

No Cover is a sound action that is performed in collaboration with a randomly chosen lobby bar keyboard player. The audio output of the keyboard is deconstructed in real time using different audio transformations such as distortion, sample fragmentation, feedback and signal saturation. The keyboard player is invited to perform his ordinary evening repertoire without knowing the processes that his musical output will suffer. The result is a live improvisation of two unknown musicians that try to interact with each other. The performance finishes when the collaborator decides so.