http://hdl.handle.net/10174/920 Tue, 09 Jun 2026 23:08:28 GMT 2026-06-09T23:08:28Z http://hdl.handle.net/10174/42138 Title: Inclusive Soundscapes: systems for an accessible performance Authors: Conde, André; Travasso, Rui; Miranda, Marco Editors: Fabian Olivero, Lucas; Simão, Emília; Sá, Alberto; Fernandes-Marcos, Adérito Abstract: This article explores multimodal communication in inclusive perfor- mative contexts, focusing on the potential of interactive systems for children with Special Educational Needs and Disabilities (SEND). Drawing on a theoretical framework that integrates the concepts of multimodality, new media, and inclusive education, it analyses the implementation of an interactive sound performance in an edu- cational setting involving functional diversity. The performance, based on digital and sensory technologies, aims to provide acces- sible, adaptable, and cognitively stimulating artistic experiences, promoting the active participation of children with diverse sensory and motor profiles. The description of the performative system is accompanied by a critical reflection on the principles of acces- sibility, individualisation, and participation, grounded in direct observations and testimonials collected during its application. The results suggest that the combination of sound art, technology, and inclusive interactive design may represent a relevant pathway for the development of more equitable educational and performative practices. The article thus highlights the role of multimodality as a tool for artistic mediation and social inclusion. Mon, 13 Apr 2026 23:00:00 GMT http://hdl.handle.net/10174/42138 2026-04-13T23:00:00Z http://hdl.handle.net/10174/42137 Title: VEIN A Bio-Sonic Narrative of Forest Life through Plant Bioelectrical Signals Authors: Conde, André; Santos-Silva, Celeste Editors: Fernandes-Marcos, Adérito; Pereira, Selma; Maneira, António Abstract: EIN is an artistic research project that investigates the translation of plant bioelectrical signals into bio-sonic narratives. The system captures real-time electrical fluctuations from vegetation in a forest ecosystem (Alto de São Bento, Évora, Portugal) and transforms them into structured sound through a hybrid analog-digital workflow. Conductive sensors record variations in plant bioelectrical activity, which are amplified, digitized, and mapped onto sonic parameters such as pitch, timbre, and rhythmic density. Rather than treating sonification as direct representation of data, VEIN frames it as a situated interpretative process in which biological and technological systems co-produce perceptual structures. The main contribution is the proposition of narrative as an emergent property of temporal biological variability rather than a human-centered construct. This approach is critically positioned against conventional sonification frameworks that prioritize analytical transparency and data fidelity. Instead, VEIN aligns with ecological listening and sound studies perspectives that emphasize relational perception and situated meaning-making. The project contributes to ongoing debates in bioacoustics, media art, and ecological sound practices by proposing a model of bio-sonic narration grounded in more- than-representational processes. Wed, 27 May 2026 23:00:00 GMT http://hdl.handle.net/10174/42137 2026-05-27T23:00:00Z http://hdl.handle.net/10174/41036 Title: Pictures Michalis Kontaxakis, Dejan Ivanovich (G) Da Vinci Classics C01041 Authors: Nobuaki, Nagaoka Abstract: A crítica do álbum "Pictures", publicada pela revista de guitarra mais relevante do Japão. Wed, 01 Jan 2025 00:00:00 GMT http://hdl.handle.net/10174/41036 2025-01-01T00:00:00Z http://hdl.handle.net/10174/40779 Title: Valuska: écriture/réécriture – à la recherche d’un drame Authors: Amaral, Pedro Editors: Ferrari, Giordano; Laki, Peter; Mathon, Geneviève; Ramaut-Chevassus, Béatrice Abstract: Entre juillet 2022 et avril 2023, Peter Eötvös a composé Valuska « une tragicomédie avec musique ou un opéra grotesque », selon le sous-titre du compositeur. Le livret, établi par Mari Mezei et Kinga Keszthelyi, est une adaptation du roman La Mélancolie de la résistance, de l’écrivain hongrois László Krasznahorkai. Deux versions de l’opéra ont été composées de façon simultanée: la « version hongroise », destinée à une production de l’Opéra National Hongrois, à Budapest, en décembre 2023, avec une mise en scène de Bence Varga, et la « version allemande » pour une production de l’Opéra de Regensburg, en février 2024, avec une mise en scène de Sebastian Ritschel. Les deux versions présentent des différences sensibles. Témoin privilégié de la gestation de l’œuvre, Pedro Amaral nous propose une lecture comparée des manuscrits qui, par des étapes successives, montrent le compositeur « à la recherche du drame », partant non pas de simples esquisses mais de la composition complète et détaillée de certaines scènes initiales, entièrement rejetées et réécrites par la suite, jusqu’à l’état final du drame accompli. Wed, 01 Jan 2025 00:00:00 GMT http://hdl.handle.net/10174/40779 2025-01-01T00:00:00Z