Três Lagoas – MS, Brasil, 1981
Artist, researcher and curator.
As an artist, she works mainly as a composer-performer. Her works explore listening as a conflictual space in which voice and noise are central aspects. She has worked individually and often in partnership with other artists, especially Fernando Iazzetta. Campesato’s collaborations span a wide range of resources and media involving interactive electronic processing and audiovisual resources, often creating a performative poetics for invented instruments. She has developed an extensive work as a sound artist and performer that has been presented in festivals and venues in Brazil and abroad (Portugal, Spain, UK, France, Denmark, Germany, Argentina, Colombia, Mexico). In general, her works dialogue directly with the idea of performing listening, whether intimate or uncanny, at the same time revealing how she listens to herself and shares that listening with others.
Her academic and artistic research are developed in an integrated manner and rely on aspects of what is private, subjective and affective. As a researcher she is interested in the fields of sound studies, experimental music, sound arts, and feminisms. Her publications mainly address the investigation of the politics of listening, (including gender issues and its subjective dimension) as well as the critique of hegemonic discourses in the treatment of experimental repertoire of music and sound art. Since 2017, she develops the research project Microfonias: intention and sharing of listening in partnership with Brazilian composer and researcher Valéria Bonafé. She is a member of Laura – Place for Research on Aurality, a collective of students and scholars in the field of sonology which is mainly interested on critical studies in aurality. Currently, she integrates the research team for the project AmplifyHer: voicing the experience of women musicians in Brazil, a partnership between the University of São Paulo and Manchester Metropolitan University. In addition, she develops a research project on listening and subjectivity in women’s recorded voice testimonies.
São Paulo – SP, Brasil, 1984
Composer and researcher.
She studied at the University of São Paulo and at the State University of Music and Performing Arts Stuttgart. She was a teacher at The Sao Paulo State Music School – EMESP Tom Jobim. She is one of the founders of Sonora: musics and feminisms, a feminist network that has promoted actions to enhance and expand the participation of women in music and the arts.
As a composer, she works with instrumental and electroacoustic music, and collaborates regularly with soloists, chamber groups (vocal/instrumental) and orchestras. Her music has been regularly performed at concerts and festivals in Brazil and worldwide. For her, musical composition is a space inhabited by references, memories, feelings, and her projects are almost always sparked by complex multisensorial images. What lies at the basis of her poetics is a wager on the radial vocation of listening, that is, on the understanding that listening is not merely a phenomenon of cochlearing, clustered on what is understood as purely sonorous, but a subjective and relational experience that opens itself up to a complex web of connections and affections.
As a researcher, she has worked mainly in the areas of musical composition, musical analysis, sound studies and feminisms. Her more recent research projects deals with sonority and sound image, memory and affect, orality and listening, sound poetics, sound autobiography and sound cartography. Since 2017, she has developed the project Microfonias: Invention and Sharing of Listening in partnership with artist and researcher Lílian Campesato. She is a member of Laura – Place for Research on Aurality, a collective of researchers in sonology whose interest focuses on critical studies in aurality, and of NuSom – Research Center on Sonology at University of São Paulo. Currently she is developing a post-doctorate research-creation supported by CNPq – The Brazilian National Council for Scientific and Technological Development.