Lisbon Sound Map is a work in progress over five years, but with a public presentation of the first sound collections after six months. Taken from the fixed stations, the monitoring and recording of sonic territories will be done in studies, particularly those with classic sound marks and considered historical places (the Pombaline lower part of the city), those with changes in their acoustic space through erosion and urban renewal of the previous urban space (some historic
districts), and finally, those who are in the process of radical change, either by the construction of buildings or through channels of communication (within the city limits or in areas where the Municipal Head of Planning allows construction).

Places, inhabited or uninhabited, always have a sound memory whose contents may or may not persist in time. Recording and understanding the maintenance and sound alterations in a given territory not only constitutes an individual memory, but above all, a collective one. The acoustic album has become an indispensable instrument and source of information essential to anthropological, sociological, cultural and urban study. With the sound mapping of a given area the
assumed strategy is to first to listen to the sound complexity of the place (the users being communication elements) and, secondly, to develop new ways of listening that are revealed in knowledge and expression. The sound map in its interactive form (with the use of different support media) enables social, cultural and political use and expresses the daily life of a place that can be recreated years later, artificially or by removing the causes that coerce the acoustic space.

• Luís Cláudio Ribeiro (Coordinator) Curriculum Vitae

• Mésicles Hélin Curriculum Vitae

• Hedisson Mota Curriculum Vitae

• Jorge Bruno Curriculum Vitae

• José Gomes Pinto Curriculum Vitae

• Rui Pereira Jorge Curriculum Vitae

• JORGE, Rui Pereira – “Krapp’s Last Tape de Samuel Beckett e a Construção de Narrativas”, in Rosa, Jorge Martins (org.), Cibercultura e Ficção, Lisboa, Documenta, 2012, pp. 109-117.

• RIBEIRO, Luís Cláudio e PINTO, José Gomes – Para una fenomenologia parcial da la escucha in La Tecnología Audiovisual al Servicio de la Sociedad (Coord. de Javier Sierra Sánchez). Madrid: Editorial Frágua, 2011, pp. 206-223.

• JORGE, Rui Pereira – “The Sound Sweep de J. G. Ballard e a Memória do Som” in Revista Babilónia, Lisboa, Edições Universitárias Lusófonas, nº 10/11, 2011.

• RIBEIRO, Luís Cláudio – O Som Moderno – novas formas de criação e escuta. Lisboa: Edições Lusófonas, 2011.

• RIBEIRO, Luís Cláudio – O Mundo é uma Paisagem Devastada pela Harmonia. Lisboa: Edições Vega, 2011.

• JORGE, Rui Pereira; LUZ, Filipe Costa e BILA, Vasco “Randomness-Based Manipulation of Sounds Assisted by Robots” in Nijholt, A.; Reidsma, D.; Hondorp, H. [org]: Intelligent Technologies for Interactive Entertainment, Berlin, Springer, 2009, pp. 143-152.

• JORGE, Rui Pereira, 2007, “A Arte do Ruído” in http://www.artecapital.net

• JORGE, Rui Pereira, “Utilização de Música Virtual e Modelação Física na Música para Contextos Interactivos” in Damásio, M. J. [org]: Estratégias de Produção em Novos Media, Lisboa, Edições Universitárias Lusófonas, 2005, pp. 316-325.

• For Recording:
Sound Devices 744 T.
Schoeps 6U mk 4 and mk 41 capsule.

• For Editing:
Pro Tools 9