This piece was a commission from the EUFONIA FESTIVAL 2021 to figure within the festival's Sound Circuits online program of soundwalks composed via field recordings gathered in the Martim Moniz, a historical neighborhood of the city of Lisbon, Portugal. + info @ https://eufonia.io/sound-circuits-2021

“(de)ambulatorium: a soundwalk in & around Martim Moniz”
(12:35 min - stereo - 2021)

Soundwalk Coordinates [by mixed sound scene order]:

1 - Martim Moniz Square: 38°42'58.2"N 9°08'10.7"W
2 - Mouraria’s Mall: 38°42'58.9"N 9°08'7.59"W
3 - Mouraria street: 38°42'59.1"N 9°08'06.8"W
4 - Bem Formoso street: 38°43'02.4"N 9°08'05.8"W
5 - Martim Moniz Square Parking Lot: 38°42'57.4"N 9°08'12.0"W

Synopsis:
(de)ambulatorium is a soundwalk that portrays the soundscape of Martim Moniz’s square & nearby locations. In concrete, it’s a mix of moving and fixed perspectives of field recordings captured in the following locations: Martim Moniz Square, Mouraria’s Mall, Mouraria street, Bem Formoso street and Martim Moniz Square Parking Lot.
The listener is invited to dive into the wonderful & lively cacophony of sounds from MM’s anthropophony and biophony, namely, sounds of traffic, of working activities in various street shops / Mouraria’s Mall, sounds from distinct languages, etc.
Generally, in terms of sonic approach, this soundwalk is the result of the mix of unprocessed sounds, but towards the end, especially during the parking lot sound scene, the piece turns clearly into a more abstract and oneiric approach.

(de)ambulatorium - SOUNDWALK (commission for EUFONIA FESTIVAL 2021 /  Sound Circuits)

Faux Naturel (solo soundscape full length album)
| November . 2022 | Unfathomless - U77 _ CD
200 CD limited edition hand n. copies : 170 copies regular
edition / 30 copies special edition
45:03 / 8 continuously mixed tracks.
(BELGIUM)

released November 14, 2022

Locations : Alhandra, Amarante, Cascais, Coimbra, Genève, Lisboa, Liverpool, Manchester, Tallinn and Tomar

field recordings, editing, d.s.p., electronic synthesis, composition,
mixing and mastering by João Castro Pinto © all field recordings gathered between 2019 and 2022.

The field recordings comprehend elements from geophonies (waterscapes: ocean, rivers, ponds, lakes), biophonies (birds, insects, dogs), anthropophonies (voices) & anthropogenic noise (assorted vehicles, dock platforms, fences, etc.).
The piece also includes clean and processed field recordings from sound making, namely the manipulation of distinct materials and found objects in several locations.

Cover & card design + treatments by Daniel Crokaert.
Based exclusively on photos by Sofia A. Carvalho & João Castro Pinto. 

more info / synopsis + to purchase the album go to:

https://unfathomless.bandcamp.com/album/faux-naturel

Faux Naturel - track 5 - dramactions / fence et al. excerpt

Faux Naturel (solo soundscape composition full length album)
| November . 2022 | Unfathomless - U77 _ CD
200 CD limited edition hand n. copies : 170 copies regular
edition / 30 copies special edition
45:03 / 8 continuously mixed tracks.
(BELGIUM)

released November 14, 2022

Locations : Alhandra, Amarante, Cascais, Coimbra, Genève, Lisboa, Liverpool, Manchester, Tallinn and Tomar

field recordings, editing, d.s.p., electronic synthesis, composition,
mixing and mastering by João Castro Pinto © all field recordings gathered between 2019 and 2022.

The field recordings comprehend elements from geophonies (waterscapes: ocean, rivers, ponds, lakes), biophonies (birds, insects, dogs), anthropophonies (voices) & anthropogenic noise (assorted vehicles, dock platforms, fences, etc.).
The piece also includes clean and processed field recordings from sound making, namely the manipulation of distinct materials and found objects in several locations.

Cover & card design + treatments by Daniel Crokaert.
Based exclusively on photos by Sofia A. Carvalho & João Castro Pinto. 

more info / synopsis + to purchase the album go to:

https://unfathomless.bandcamp.com/album/faux-naturel

Faux Naturel - track 1 - dawning / into-out-of-silence excerpt

Efflux was composed through the sound exploration of the selected samples, favoring contrasting approaches. Some sounds were extremely processed, until they became unrecognizable, others were filtered and isolated from their environmental context, however, maintaining some of their spectromorphological profile, and, finally, sounds from concordant and discordant sound families were added. Efflux presents a varied sonic flow of frequencies, amplitude dynamics, between quasi-silence and dense volume, discrete and continuous sounds. 

[Efflux (2021) is the result of a commission from Lisboa Soa Festival for the creation of a new work based on the sound archives of the first five editions of the festival (2016-20). Efflux was recently distinguished by Sound / Image Festival Electroacoustic Music Festival 2022 (University of Greenwich, London). The CD had its pre-release at Quartel Largo Cabeço de Bola, in Lisboa, as part of the installations program of the 2023 festival's edition. The installation “Sounds Within Sounds” continuously played the four pieces that compose the album. The album / CD will be released on 26.09.2023 by Crónica Electrónica label, + info @ https://cronica.bandcamp.com/album/lisboa-soa-sounds-within-sounds]

EFFLUX (excerpt) "Lisboa Soa - Sounds Within Sounds" CD / ALBUM _  2023 (ce 207) Crónica Electrónica

Anastasis Grivas
prepared custom bowing guitar, contact mics, objects manipulation

João Castro Pinto
laptop, live electronics, real-time sampling, Max-MSP

List track:
1. HYPO-STASIS A – INTRO : 07’25 »
2. HYPO-STASIS B : 03’00 »
3. HYPO-STASIS C : 09’15 »
4. HYPO-STASIS D : 07’32 »
5. HYPO-STASIS E : 07’37 »
6. HYPO-STASIS F : 08’27 »
7. HYPO-STASIS G – CODA : 08’09 »
Total time: 00:50:45 min

All music recorded live at Small Music Theatre on May 3rd and 5th 2003, in Athens, Greece. Editing and mastering by © Anastasis Grivas & João Castro Pinto, in 2004 and 2023. Design / visual work by João Castro Pinto.

10 pages | monochrome | 14 cm x 15 cm | 12 €
50 copies hand-numbered limited edition CDR

To buy this album go to https://grimaceseditions.org/hypo-stasis/ or send me an email at agnosiia@gmail.com

------

HYPO-STASIS is the musical result of the collaboration, initiated back in 2003, between Anastasis Grivas (prepared custom guitar), a Greek improviser and curator and the Portuguese composer / performer João Castro Pinto (laptop). In May 2003, on the occasion of Castro Pinto’s three months intermedia artistic residency at Fournos Centre for Digital Culture, in Athens, both musicians met for two improvised recording sessions at Small Music Theater, at the time Greece’s most important venue dedicated to experimental and improvised music, curated by Anastasis (Ektopia). With closed doors and no audience, Anastasis and João played on SMT’s stage and improvised direct takes (stereo files), which were registered via an audio CD recorder. The outcome of the recorded music is condensed on this album in 7 pieces. Both artists were very satisfied with this live collaboration and immediately had the intention to release it. Due to several contingencies, the recordings stood on hold for two decades, when finally both musicians managed to do a selection and simple editing / mastering of the pieces, in order to release them to the world, for they still carry pertinent musical actuality. This release marks the 20th anniversary of the recordings & of the debut of this collaborative duo.
HYPO-STASIS presents several musical approaches, from the initial quiet & dark minimal dronescapes, where the continuous hypnotic sounds of the prepared guitar turn into dense atmospheres, due to João’s live electroacoustic subtle processing; to the more hectic final tracks, where Anastasis’s custom made prepared guitar gains foreground protagonism, presenting, alongside the deep thick drones, discrete sounds and whimsical musical gestures, in an overall improv methodology that turns this album into a diverse musical voyage, composed by an intriguing sonic palette.
HYPO-STASIS relates musically to the idea of Greek’s philosophical term hypostasis, the essential substrate upon which all reality is constructed, the foundation of phenomenic appearances. It also concerns the approach of the early Christian vision patent on the idea Hypostatic union, it is therefore a title that describes the idea of unity in diversity, movement in staticity and an overall consequent intrinsic musical flow.

7 HYPO-STASIS G CODA EXCERPT

6 HYPO-STASIS F EXCERPT

5 HYPO-STASIS E EXCERPT

Anastasis Grivas
prepared custom bowing guitar, contact mics, objects manipulation

João Castro Pinto
laptop, live electronics, real-time sampling, Max-MSP

Track List:
1. HYPO-STASIS A – INTRO : 07’25 »
2. HYPO-STASIS B : 03’00 »
3. HYPO-STASIS C : 09’15 »
4. HYPO-STASIS D : 07’32 »
5. HYPO-STASIS E : 07’37 »
6. HYPO-STASIS F : 08’27 »
7. HYPO-STASIS G – CODA : 08’09 »
Total time: 00:50:45 min

All music recorded live at Small Music Theatre on May 3rd and 5th 2003, in Athens, Greece. Editing and mastering by © Anastasis Grivas & João Castro Pinto, in 2004 and 2023. Design / visual work by João Castro Pinto.

10 pages | monochrome | 14 cm x 15 cm | 12 € (+ postal costs)
50 copies hand-numbered limited edition CDR

To buy this album go to https://grimaceseditions.org/hypo-stasis/ or send me an email at agnosiia@gmail.com

------

HYPO-STASIS is the musical result of the collaboration, initiated back in 2003, between Anastasis Grivas (prepared custom guitar), a Greek improviser and curator and the Portuguese composer / performer João Castro Pinto (laptop). In May 2003, on the occasion of Castro Pinto’s three months intermedia artistic residency at Fournos Centre for Digital Culture, in Athens, both musicians met for two improvised recording sessions at Small Music Theater, at the time Greece’s most important venue dedicated to experimental and improvised music, curated by Anastasis (Ektopia). With closed doors and no audience, Anastasis and João played on SMT’s stage and improvised direct takes (stereo files), which were registered via an audio CD recorder. The outcome of the recorded music is condensed on this album in 7 pieces. Both artists were very satisfied with this live collaboration and immediately had the intention to release it. Due to several contingencies, the recordings stood on hold for two decades, when finally both musicians managed to do a selection and simple editing / mastering of the pieces, in order to release them to the world, for they still carry pertinent musical actuality. This release marks the 20th anniversary of the recordings & of the debut of this collaborative duo.
HYPO-STASIS presents several musical approaches, from the initial quiet & dark minimal dronescapes, where the continuous hypnotic sounds of the prepared guitar turn into dense atmospheres, due to João’s live electroacoustic subtle processing; to the more hectic final tracks, where Anastasis’s custom made prepared guitar gains foreground protagonism, presenting, alongside the deep thick drones, discrete sounds and whimsical musical gestures, in an overall improv methodology that turns this album into a diverse musical voyage, composed by an intriguing sonic palette.
HYPO-STASIS relates musically to the idea of Greek’s philosophical term hypostasis, the essential substrate upon which all reality is constructed, the foundation of phenomenic appearances. It also concerns the approach of the early Christian vision patent on the idea Hypostatic union, it is therefore a title that describes the idea of unity in diversity, movement in staticity and an overall consequent intrinsic musical flow.

3 HYPO-STASIS C EXCERPT

MÉTAMORPHOSES 2024 - V/A (2025)

13th Biennial Acousmatic Composition Competition Compilation

CIRCUMSPHERE - TO BOUNCE & REBOUNCE - 09:01
(solo acousmatic piece)

| released on March 14th 2025 |

Influx / Musique & Recherches
(BELGIUM) 

Circumsphere: to bounce & rebounce is a  piece that delves into the sonic richness of spherical objects, ranging from rubber and ping pong balls, to wooden / styrofoam spheres and marbles. Additionally, the piece incorporates sonic resonating elements, such as a Tibetan singing bowl and a wire fruit basket, where the sound objects were intentionally moved and recorded, with different speeds and dynamic densities. The spherical objects were also recorded on other surfaces such as glass tables, wood and tiled floors. The composition’s main aim was to articulate organic plots of kinetic energy, by designing variegated musical gestures and crafting experimental timbres and tones. At stake is the musical exploration of the idea of circularity, i.e., of intrinsic movement, of flow / vortex macro-shapes. The goal was to simultaneously explore the physical and phenomenological quality of “roundness”, a sort of circumnavigation of an acousmatic cartography of movement. Each object was carefully selected for its unique sonic characteristics and guided by the axial idea of proposing oscillating / overlapping musical planes, conveying, within the several sections of the piece, a sense of transparency and opacity. Hence, along the composition, the spherical objects are disposed either raw or partially / totally processed (by micro-montage, including a variety of d.s.p. operations as: granulation, spectral filtering, pitch shifting, varispeed, etc.). Beyond the classical percussive sounding behaviour of rebounding spheres (e.g.: falling into surfaces) one can listen, as the piece evolves, to the sound objects being experimentally transformed and evoking contrasting mental images of movement and staticity.

||||||||||||||||||||||||||||||||||||
MÉTAMORPHOSES 2024
13th Biennial Acousmatic Composition Competition

113 pieces participated in the 13th Métamorphoses Acousmatic Composition Competition 2024, including 36 in the “student” category and 51 in the “senior” category. Among these, the pre-selection jury — Elizabeth Anderson, Jonty Harrison, Julien Guillamat, Annette Vande Gorne — selected the following finalist pieces, which were programmed for the opening of the 31st International Acousmatic Festival “L’Espace du Son” on Wednesday, October 16, 2024:

"Texture Arcs The Points", David Q. Nguyen

"Unto the Sea", Adam Stanović

"Useless Box", Panayiotis Kokoras

"Inner Resonance", Thimothy Cooper

"Circumsphere", João Castro Pinto

"Calcaire", Eduardo Prudente

"Unfold", Bihe Wen

"Lacuum", Theodore Karkatselas

…………………………………………………

The final jury, composed of Elizabeth Anderson, Martin Bédard, Julien Guillamat, Christine Groult, Annette Vande Gorne, under the presidency of Jonty Harrison, awarded the First COCOF Prize to Eduardo Prudente and the Second COCOF Prize to David Q. Nguyen.

The Audience Prize was awarded to Panayiotis Kokoras.

Furthermore, the pre-selection jury had already determined:

The winner of the “student” category: Cameron Naylor

The winner of the “senior” category: João Pedro Oliveira, as well as an honorable mention in the same category to Andrew Lewis

The pre-selection jury also wished to give special mentions to the following pieces in the “student” category:

"Le Caméléon" by Yunjie Zhang

"Inflection Point" by Nikos Kanelakis

Finally, the pre-selection jury selected "Inflection Point" by Nikos Kanelakis as the required piece for the Spatialization Competition.

*COCOF – French Community Commission of the Brussels-Capital Region

to listen / buy the album go to: https://influxacousmatic.bandcamp.com/album/m-tamorphoses-2024

Métamorphoses 2024 (V/A) - João Castro Pinto - Circumsphere- to Bounce and Rebounce (excerpt)

LOST BODIES - HOT STORIES 

[December . 2025 | DIY Airlines | Double LP Vinlyl]

This double vinyl album includes collaborations with Nikos Veliotis (MΜΜΔ / Mohammad), Celia Tsioufi, and a piece I composed, which records in physical form a collaboration that began live in Athens, in 2003, between myself and Θάνος Λοστ. The piece, titled “Απολαύστε Ελεύθερα” (Enjoy Freely, 17’48”), is structured around Thanos’ voice and texts and is inspired by the work of Austrian writer Peter Handke, particularly “Offending the Public. Calls for Help”. Handke had a profound impact on postwar theatre and literature by breaking with traditional narrative and using language as a direct, confrontational, and critical gesture, placing the audience at the center of the action and questioning the very act of listening. This influence is present in "Enjoy Freely", where the voice does not merely tell a story or convey a “closed” message, but rather addresses, provokes, and creates friction with the listeners. 

Lost Bodies are a legendary Greek band, founded in Kallithea (Athens) in 1984 by Thanos Kois and Antonis Papaspyros. Since then, they have freely orbited a vast pleiad of genres without fixing in any, gaining recognition for their anarcho-punk attitude and for an uncategorizable musical practice that blends mordant and sardonic social/political commentary with experimental avant-garde music, post-punk, industrial, funk, trip hop, and everything else you can imagine. In every sense of the word, they are a punk band, and their music is intentionally uncategorizable and can only be described as “outer limits.” This record is currently not available for sale on any commercial online platform, so there is, for now, no digital version to purchase or download. It is a fully DIY vinyl edition, released by the Lost Bodies’ non-label DIY Airlines. Finally, although there is no digital version, and so that you can freely enjoy the piece “Enjoy Freely”, an excellent video, which is in itself another beautiful artistic object, has been created by Misouridis Giannis, which can be watched freely on YouTube and through which the piece can be heard in its entirety: www.youtube.com/watch?v=rdWOWD1GtYg (Note: although the translation is not perfect, if you want to read Thanos' words in English or in your native language, enable YouTube’s real-time captions and select your language.)
For full sonic appreciation watch / listen to it loud, via good headphones or proper studio monitors. 🔉

“Απολαύστε Ελεύθερα” / Enjoy Freely - 17’48’’

Texts, narration: Thanos Kois
based on the book by Peter Handke "Insulting the Audience. Calls for Help."

Electronics / electric guitar / field recordings / samples / composition: João Castro Pinto

Visual composition, cinematography, editing: Giannis Misouridis

ENJOY FREELY 2

LOST BODIES - HOT STORIES 

[December . 2025 | DIY Airlines | Double LP Vinlyl]

This double vinyl album includes collaborations with Nikos Veliotis (MΜΜΔ / Mohammad), Celia Tsioufi, and a piece I composed, which records in physical form a collaboration that began live in Athens, in 2003, between myself and Θάνος Λοστ. The piece, titled “Απολαύστε Ελεύθερα” (Enjoy Freely, 17’38”), is structured around Thanos’ voice and texts and is inspired by the work of Austrian writer Peter Handke, particularly “Offending the Public. Calls for Help”. Handke had a profound impact on postwar theatre and literature by breaking with traditional narrative and using language as a direct, confrontational, and critical gesture, placing the audience at the center of the action and questioning the very act of listening. This influence is present in "Enjoy Freely", where the voice does not merely tell a story or convey a “closed” message, but rather addresses, provokes, and creates friction with the listeners. 

Lost Bodies are a legendary Greek band, founded in Kallithea (Athens) in 1984 by Thanos Kois and Antonis Papaspyros. Since then, they have freely orbited a vast pleiad of genres without fixing in any, gaining recognition for their anarcho-punk attitude and for an uncategorizable musical practice that blends mordant and sardonic social/political commentary with experimental avant-garde music, post-punk, industrial, funk, trip hop, and everything else you can imagine. In every sense of the word, they are a punk band, and their music is intentionally uncategorizable and can only be described as “outer limits.” This record is currently not available for sale on any commercial online platform, so there is, for now, no digital version to purchase or download. It is a fully DIY vinyl edition, released by the Lost Bodies’ non-label DIY Airlines 😂🤣🔉👍. For those in Athens, HOT STORIES will be available for purchase tonight during the album’s official release concert at ILION Plus (doors open at 9:30 PM; more details below). For potential listeners elsewhere, I am awaiting the arrival of 4 copies for sale, so if interested, do contact me via private message. Finally, although there is no digital version, and so that you can freely enjoy the piece “Enjoy Freely”, an excellent video, which is in itself another beautiful artistic object, has been created by Misouridis Giannis, which can be watched freely on YouTube and through which the piece can be heard in its entirety: https://www.youtube.com/watch?v=rdWOWD1GtYg (Note: although the translation is not perfect, if you want to read Thanos' words in English or in your native language, enable YouTube’s real-time captions and select your language.)
For full sonic appreciation watch / listen to it loud, via good headphones or proper studio monitors. 🔉

“Απολαύστε Ελεύθερα” / Enjoy Freely - 17’48’’

Texts, narration: Thanos Kois
based on the book by Peter Handke "Insulting the Audience. Calls for Help."

Electronics / electric guitar / field recordings / samples / composition: João Castro Pinto

Visual composition, cinematography, editing: Giannis Misouridis

ENJOY FREELY 1

ENJOY FREELY 3

Excerpt of Nora Prentis, released on "Música Conflituosa" (2nd number of the V-ludo Arts Magazine) | February . 2001 - limited edition CD-R.
1986! are Mikael Freezbe (a.k.a. JCASTROP - electronics and composition) and Rabu Dajhan (M.J.Magalhães - electronics). 


1986! - Nora Prentis (2001)

A piece released on the Xth Useless Poorductions Anniversary Compilation (1997-2007) | “Athanor” - 2'00''; limited edition CD-R | April . 2007 |


Athanor (2007)

Deconstruct_Rebuild” is a record made by the duo Koji Asano_João Pinto. Released by Grain of Sound : gos006 - limited edition CD-R | June . 2002 |


Deconstruct_Rebuild - Koji Asano _  João Castro Pinto (excerpt - 2002)

"Cages of Sound"____ : event for the edition of the CD "Cage of Sand" from Carlos Zíngaro _ Sirr.007 | CAM – Fundação Calouste Gulbenkian ~ Lisboa | 24.05.2002

Carlos Zígaro - tone meister / mixer (invited composer)

[des]integração :
Paulo Raposo - electronics
Carlos Santos - electronics
João Castro Pinto - electronics
Nuno Moita - electronics
Pedro Lourenço - electronics
Miguel Carvalhais - electronics

[des]integração - Permute (excerpt - 2002)

Excerpt of the electroacoustic piece "Synthetic Impressions". 
This piece was selected wthin the national contest "Young Creators 99", in the music area. 


Impressões Sintéticas - Nictóbata (excerpt - 1999)

This excerpt is part of our concert at the Sonic Scope Festival (03.07.2008), released on Sonic Scope 2008 - live at Fonoteca Municipal de Lisboa – Grain of Sound : gos022 - CD | 2008

Sei Miguel - pocket trumpet, composition
Fala Mariam - alto trombone
João Castro Pinto - total piano
Pedro Lourenço - Bass
César Burago - Percussions



O terceiro movimento do canto do deus máquina - Sei Miguel : Acalanto V : Rito e Realidade (2008)

Obsidia – dos sons invisíveis ou das imagens audiveís - 09:14 (2017) 

One of the connotations of the term obsidiar (to obsess) is the idea of obsessive pursuit, of insistent focus. This idea of insistence is musically employed in the sense of the exploration of sound aspects that, throughout the piece, are heard. One of these aspects is the repeated focus on the spectral degradation of sounds, that is, the detailed work of subtraction, addition, multiplication, etc... of spectra of various sonic families. 

Another aspect that qualifies this piece is that, in terms of compositional methodology, it focuses on quasi-granular timbral exploitation, making extensive use of the doppler effect, animating sound objects with pronounced gestures and movements. 

The sources of this composition consist of sounds from various objects, manipulated and recorded at the ORF studios in Vienna, Austria, on the occasion of João Castro Pinto's radio art piece: "The No Land Soundscape Project" on April 30th 2017 (more info @ http://kunstradio.at/2017A/30_04_17en.html), and sounds of machinery dedicated to the printing of paper and currency coinage at the Imprensa Nacional Casa da Moeda. 

-----------

Obsidia – dos sons invisíveis ou das imagens audiveís is part of Esofonia, which is an anthology of acousmatic pieces that illustrates part of the musical journey of João Castro Pinto (from 1999 to 2017), released by MISO RECORDS, on October 7th 2017.
Although they are referred to as acousmatic, the works that appear here are, more precisely, of a hybrid nature, i.e., they vary drastically, in terms of quantity and quality, between the maximally acousmatic and the totally referential. 

More info @ https://www.misomusic.com/index.php?option=com_content&view=article&id=597:novos-lancamentos-miso-records&catid=70&Itemid=665&lang=en&iframe=1

ESOFONIA - acousmatic works 1999-2017 - OBSIDIA (excerpt) MISO RECORDS

"CATACHRESIS" is a soundscape composition focused on the complex idea of the ambiguous denotative and connotative character of metaphors, not applied to linguistics but to the sound world. Meaning, literally, abuse, CATACHRESIS is defined as a kind of misapplication of a word, in terms of its utter significance, frequently portraying the function of referring to a concept that linguistically has no definite term or word to state its reference, that is: its denotative conceptual definition. The term CATACHRESIS is a conceptual frame to strengthen the aural ambiguity of meaning, reference and its perception. This piece presents a selection of aural events and geographic locations that explore the ambiguity of recognizable and contrasting / conflicting sound plots, by suggesting complex sound canvas fulfilled with contradicting and improbable events and juxtaposing sound frames with the intention to create a flow of intrinsic sonic unity.
"CATACHRESIS" actually intends to forge a real soundwalk, as it tries to convince the listener that the perceived sound output corresponds to an actual linear soundwalk, i.e., a walk that could have happened exactly the way the piece is composed and presented sound wise, as one would be walking and freely recording natural landscapes. This long piece is essentially based in field recordings captured along different and contrasting natural locations as: urban sounds of the city of Lisbon; natural sounds from several locations of Tagus river (the harbor of Cais do Sodré; near Belém Tower and on the verge of flowing to the Atlantic ocean); natural sounds captured in several locations of Sintra's forest, Canterbury's Cathedral (UK) premises and inside its buildings, including recordings from instrumental music (a pipe organ) and a mass choir. In order to constitute the idea of a feasible soundwalk, the piece was composed as a continuous mix, so there is no absolute silence between its 7 parts. Minimal sound processing techniques (equalization and mixing) were used in this piece (a few electroacoustic processing occurs in the latest parts of the piece), for the main idea here is to reveal a soundscape compositional approach. 
(more info @ http://www.triplebath.gr/releases/trb.034_panaural.html)

CATACHRESIS - 3) flowing where the river meets the ocean (2012) excerpt

"CATACHRESIS" is a soundscape composition focused on the complex idea of the ambiguous denotative and connotative character of metaphors, not applied to linguistics but to the sound world. Meaning, literally, abuse, CATACHRESIS is defined as a kind of misapplication of a word, in terms of its utter significance, frequently portraying the function of referring to a concept that linguistically has no definite term or word to state its reference, that is: its denotative conceptual definition. The term CATACHRESIS is a conceptual frame to strengthen the aural ambiguity of meaning, reference and its perception. This piece presents a selection of aural events and geographic locations that explore the ambiguity of recognizable and contrasting / conflicting sound plots, by suggesting complex sound canvas fulfilled with contradicting and improbable events and juxtaposing sound frames with the intention to create a flow of intrinsic sonic unity. 
"CATACHRESIS" actually intends to forge a real soundwalk, as it tries to convince the listener that the perceived sound output corresponds to an actual linear soundwalk, i.e., a walk that could have happened exactly the way the piece is composed and presented sound wise, as one would be walking and freely recording natural landscapes. This long piece is essentially based in field recordings captured along different and contrasting natural locations as: urban sounds of the city of Lisbon; natural sounds from several locations of Tagus river (the harbor of Cais do Sodré; near Belém Tower and on the verge of flowing to the Atlantic ocean); natural sounds captured in several locations of Sintra's forest, Canterbury's Cathedral (UK) premises and inside its buildings, including recordings from instrumental music (a pipe organ) and a mass choir. In order to constitute the idea of a feasible soundwalk, the piece was composed as a continuous mix, so there is no absolute silence between its 7 parts. Minimal sound processing techniques (equalization and mixing) were used in this piece (a few electroacoustic processing occurs in the latest parts of the piece), for the main idea here is to reveal a soundscape compositional approach. 
(more info @ http://www.triplebath.gr/releases/trb.034_panaural.html)

CATACHRESIS - 4) reaching the temple (2012) excerpt

"INVOCATIO - ascribing soundImages into Silence" is a soundscape piece based on the idea of invocation (from the Latin invocatio / invocare), as an act of desire and prayer for the presence, on the profane plane, of the sacred arché, the unveiling of the primeval existential principle. This piece is inspired by Goethe's great work Faust and intends to establish itself as a short sonification of some of the most compelling passages of the book. This is a meta-soundscape composition, as one did not elaborate on / or sonically depicted an actual aural location but throughout imagination one tried to create a sonorous interpretation of the work, ascribing soundImages into Silence. This piece is a tribute to the majestic and complex hermetic symbolism encrypted in this magnum opus. Far from being a piece with a figurative narrative, concerning the book's contents, the work which is here presented constitutes an intent that recreates environments and moments that reveal transmutable and quasi-alchemical sound-plots, accordingly with the main purpose of Dr. Faust : the call for the mysterious beyond, the thirst for knowledge as an attempt to contact the Self and, moreover, the profound craving for initiation and for the achievement of the Lapis Philosophorum. Field recordings from natural locations, some objects (matches, dirt, wind microphone pops, etc..), a berimbau, sounds of furniture and synthesized / resynthesized sounds were used in this piece. (more info @ http://www.triplebath.gr/releases/trb.034_panaural.html)

INVOCATIO - ascribing soundImages into Silence (2009) excerpt

"WATER-DREAMT-BY-FOREST: a binaural oneiric-walk" is a soundscape piece inspired by the fascinating sounds of the forest. This piece intends to figure the aliveness and aural richness of forest and countryside soundscapes, as it magnifies some of its characteristics through complex electroacoustic processes and soundscape compositional techniques. This piece is an oneiric statement, as it figures the forest as being capable of dreaming about water and humans in search of this precious existential liquid. Water is considered as the fertile symbol of life, thence, the forest also reaches towards it, craves it, dreams of it as humans do. Field recordings from crackling wood, water, wind, stones, animals, insects, walking humans, quiet soundscapes, etc... were captured by the author and used as sound sources for the creation of an immersive binaural oneiric-walk. The field recordings used for this piece were captured in the countryside in Alentejo and in Sintra's Forest. (more info @ http://www.triplebath.gr/releases/trb.034_panaural.html)

WATER-DREAMT-BY-FOREST: a binaural oneiric walk (2011) excerpt

Hiante 
(17:06 min - stereo | September . 2019)
50 copies limited edition BOOK-CD, with drawings printed on serigraphy.

Hiante, literally meaning ‘grand opening’, ‘crack’, or figuratively ‘open mouth’, ‘starveling’, is built through nine poetic movements, whose liturgical and lugubrious atmosphere seeks to restore to the word the gravity of the verb, transfiguring each poem into a living organism: each syllable is taken as a complex organ that sometimes dissolves or crystallizes, a kind of passage that expands and a crack that contracts.
This electroacoustic poetry piece is the result of a detailed sonic exploration of the voice’s timbre and of the semantic power veiled beyond the words that configure the form of the poems.
Hiante intends to guide the listener through a musical maze where he can, eventually, experience an inner journey that offers hints about the meaning of the musically depicted poetry. The poems are interspersed with variable duration vocal utterances of words and phrases, creatively mixed with field recordings and electronics, turning the primary meaning of the poet’s words into new levels of signification and, therefore, creating new impromptu ambiences filled with euphonious and whimsical listening experiences.
This artistic object unites word and music, and these with authorial drawings. The illustrations (charcoal, pencil and pen) are not intended to describe the poems, but rather appear as imagetic notes that amplify the atmospheres created by the symbiosis of two expressive universes.
Hiante is, simultaneously, the first released short poetry book of Sofia A. Carvalho and the result of the ongoing collaboration between her and the composer, performer and researcher João Castro Pinto.

...........................................

Sofia A. Carvalho
poems, voice and illustrations

João Castro Pinto
electroacoustic composition
(electronics, field recordings,
computer processing /
mixing_mastering )
and illustrations

/////////////////////////////////////////////

to buy this album and for more info go to @ https://grimaceseditions.org/hiante-2/

Hiante(excerpt)

This work has two pieces - à-τόπος / où-τόπος - and I gathered its field recordings between 1998-2019 in Amarante, Budapest, Coimbra, Moscow, Saint-Petersburg, Sesimbra, Travanca do Monte,Tallinn and Vienna.
The album was released on limited edition tape and in digital format, you can listen and purchase it on bandcamp. Check it out @

https://hemispharenokukyo.bandcamp.com/…/the-no-land-sounds…

Synopsis:

The No Land Soundscape, which, as the name implies, is meant to represent no specific location, but rather to suggest a phenomenologic sonic experience that re-contextualizes both the spaces and the time of the field recordings in an unusual and captivating sonorous reconfiguration (its field recordings were done within a period of 21 years, in diverse locations). This work was developed within context of João Castro Pinto’s ongoing PhD research about soundscape composition thematic, and it intends to question the notion of spatio-temporal coherence, a key concept within the academic conceptual theory supported by Barry Truax, regarding the practice of soundscape composition.

The No Land Soundscape is a work composed with field recordings captured from totally different latitudes, which are mixed in such a way that their differences fade at the listening moment. What is at stake here is, on the one hand, to question the perception of the ambiences portrayed in terms of the objective provenance of the presented sounds and, on the other, to draw attention to the richness of different sound scenarios: from rural to urban, from calm to noisy. In this soundscape are presented different scenarios with which we have sonorous familiarity, coming from various geophonies, biophonies and anthropophonies, including: sounds of water (river - in natural and artificial scenery / city - OR sea / beach), rural sounds of the countryside / animals, sounds of works / construction, sounds of churches (choirs), sounds of fairs and playgrounds. All of these sounds have been crafted and mixed in order to highlight and enhance their sonic and musical qualities. This work intends, in the sense of the acoustic ecology, to arouse the interest on sounds and on the importance of the development of an attentive listening, and therefore to contribute towards the preservation of the acoustic environment, but it is not intended to serve as an apology for the so-called natural sounds. Rather than advocating judgments as to which sound typology is best suited to listen, purpose that is intended by the acoustic ecology, The No Land Soundscape does not segregate sounds, it highlights both natural and artificial sounds, calm or noisy, hi-fi or low-fi, processed or just raw field recordings.

Sounds animate the places that we inhabit and in that sense they are a phenomenological access to reality, and it's their qualitative unity that is portrayed in this soundscape, rather than the singularities of cultural or anthropological nature / interpretation, more akin to an ethnomusicological discourse / analysis. The No Land Soundscape is a sonic journey that focuses on the soundscape as a concept and on some of its aspects / factors, a proposition that evokes the necessity of the development of a present and attentive listening.

2 U - TOPOS Excerpt

1 A - TOPOS Excerpt

This piece is part of my new album - ARS ABSCONDITA - released by Japanese label OtO [005] Released on 07.07.2013. A piece on aqueous environments and gestures. February 2013

Effluvium (excerpt)

João Castro Pinto is a Portuguese sound artist, composer and sound designer interested in the art of composing silence with sounds.
    
He has graduated in Philosophy at the New University of Lisbon (F.C.S.H.) and is currently finishing a Ph.D. in Computer Music @ U.C.P. / C.I.T.A.R. - Research Centre for Science and Technology of the Arts.

João Castro Pinto is a composer released and endorsed by MISO MUSIC PORTUGAL's - MIC.PT (Portuguese Music Research & Information Centre) & MISO RECORDS.

João Castro Pinto’s sound work ranges between: field recordings / soundscape composition, dense droning, noise, electroacoustic, acousmatic & experimental electronic genres. 

J. Castro Pinto attended masterclasses in electroacoustic music composition with Francis Dhomont, François Bayle, Barry Truax, John Chowning, Simmon Emmerson, Trevor Wishart, Morton Subotnick, Annette Vande Gorne, Adrian Moore, etc...

His music has been distinguished and awarded in prestigious acousmatic music competitions, such as Banc D’Essai at INA-GRM (Selected Artist, France, 2016), Destellos (2nd Prize, Argentina, 2024), Métamorphoses (Belgium, Finalist, 2024), MA / IN (Italy, Finalist, 2024), among others. Castro Pinto was also distinguished with several national awards, including the “Jovens Criadores 99” competition (music section) and the Ernesto de Sousa Fellowship 2001 (8th recipient of the fellowship). International distinctions include several artistic residencies.

João Castro Pinto has presented his works in over 60 festivals throughout Europe, the Americas, and Asia, including: INA-GRM Multiphonies / Banc D’Essai (France), L'Espace du Son Festival (Belgium), Ars Electronica Forum Wallis Festival (Switzerland), MANTIS - Electroacoustic Music Festival (England), Sound-Image Electroacoustic Music Festival (England), ICMC – International Computer Music Conference (USA), Experimental Intermedia Foundation (USA), REF – Resilience Festival (Italy), Matera Intermedia Festival (Italy), Poetronica (Russia), Epicentroom – International Audiovisual Festival (Russia), ISCM – International Society for Contemporary Music’s World Music Days Festival (Estonia), Soundkitchen (England), Radiophrenia Festival (Scotland), Eufonia Festival (Germany / Portugal), Visiones Sonoras (Mexico), Perspectivas Sonoras (Mexico), MUSLAB – International Exhibition of Electroacoustic Music (Argentina), Espacios Sonoros (Argentina), La Hora Acusmática (Argentina), Sur Aural Festival (Bolivia), Audio Art Festival (Poland), Wien Modern (Austria), Interpenetration Festival (Austria), PNEM Sound Art Festival (Holland), SICMF – Seoul International Computer Music Festival (South Korea), Dotolimpic – Festival for Improvised and Experimental Music (South Korea), Musiucacoustica Hangzhou (China), Música Viva (Portugal), Serralves em Festa (Portugal), Aveiro Síntese (Portugal), Dar a Ouvir (Portugal), Lisboa Soa (Portugal), among others.

He frequently collaborates and performs with renowned Portuguese and international artists from the sound art, experimental, and improvised music scenes, such as: Hanna Hartman (SE), Tom Hamilton (EUA), Karlheinz Essl (AT), Koji Asano (JP), Bernhard Loibner (AT), Michael Fischer (AT), Vienna Improvisers Orchestra (AT), Jorge Sánchez-Chiong (VE), Roel Meelkop (NL), Jos Smolders (NL), Pavel Zhagun (RU), Alexei Borisov (RU), Boris Hauf (AT), Clemens Hausch (AT), Philippe Lamy (FR), Gilles Aubry (CH), Thollem McDonas (EUA), Nathan Fuhr (EUA), Sei Miguel (PT), Variable Geometry Orchestra (PT), Carlos Zíngaro (PT – via [des]integração), Rafael Toral (PT – via VGO), Coti (GR), D’Incise (CH), John Grzinich (EE), Ernesto Rodrigues (PT), Manuel Mota (PT), ANISOTROPUS (PT), Anastasis Grivas (GR), Red Trio (PT), Blaise Siwula (EUA), Jeremy Bernstein (EUA), Kurt Ralske (EUA), among many others.

Castro Pinto’s music has been presented in various installations and released on over 20 recordings, by labels such as: Influx / Musiques & Recherches (Belgium), Unfathomless (Belgium), Meakusma (Belgium), Miso Records (PT), Hemisphäreの空虚 (Australia), Grimaces Éditions (Switzerland), OtO (Japan), Triple Bath (Greece), Sirr-ecords (PT), Creative Sources Recordings (PT), Grain Of Sound (PT), Crónica Electrónica (PT), Variz (PT) and Useless Poorductions (PT).

+ info - personal site - @ http://www.agnosia.me | MIC PROFILE - bit.ly/MIC-PT-PROFILE-ENGLISH _ contact - agnosiia@gmail.com
MIC.PT LARGE INTERVIEW : https://nx12092.your-storageshare.de/s/minapSsW4anzCyk

João Castro Pinto

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