Proyecto Emovere was born in 2014 at the Faculty of Arts of Universidad de Chile under the direction of academics Francisca Morand (Dance Department) and Javier Jaimovich (Sound Department). It originated as an interdisciplinary collaboration aimed at researching and developing artistic creation from the perspective of new technologies and interactivity. The cluster’s first interactive interdisciplinary work premiered with the name Emovere in October 2015. Based on this initial creative process, the decision was made to continue the work, and the Proyecto Emovere cluster was formed. From its inception until today, the cluster has brought together students, artists, professionals and academics from various disciplines including Dance, Sound Art, Musical Composition, Visual Arts, Engineering and Theory in order to create and discuss their topics of interest in various modalities: creative works, workshops, residencies, seminars, presentations at national and international conferences, and publications. This project has a substantial technology component, yet always in relation to the body; a body approached from its biology, considering its physiology, emotion, voice and biosignals as founding materials for the interactive process.

Sound design for the installation Leaking Woman, by artists Paula Salas and Soledad Pinto. The design was built from texts written by the artists and recorded by a group of women invited to participate in the installation. The recordings were edited and distributed in an eight-speaker configuration in the exhibition space.

Invited to compose one of the Choreographic Audios of the piece. The sound design consisted in the granulation of speeches said during a session of the Chilean Senate.

Collaboration with Border Agency Art Collective in the development of a multimedia installation opened in November 2016 at the Modern Art Museum in Santiago. In it the cultural construction of landscape is explored, particularly in relation to the minefields of the Atacama Desert. The sound design of the exhibition seeks to extend key concepts of the demining process, such as the idea of tension and instability which raises the uncertainty caused by the nonstatic condition of mines due to geographical characteristics, and the remoteness and inaccessibility of the demining process itself. This has been generated by a sound construction in which mixes synthetic sounds and in situ recordings that overlap and mix with each other, using the spatiality of the room and exploiting the acoustic characteristics of it.

Invited to participate in breviary handbook that explores form beyond canon, among Chilean and international artists such as Brandon LaBelle, Mauricio Barría, Daniel Cruz and many others. My participation proposed a generative algorithmic patch for Max/MSP that explored the phonetics of the letter ‘Ñ’.

Sound design for the dance performance Sentidoseis by Pablo Zamorano based on the five senses. The design was commissioned for ‘hearing’ and was built as a tribute to Steve Reich’s “Pendulum Music” with choreographer Francisca Morand.

An interactive installation created at the Sonic Arts Research Centre (SARC) in collaboration with Adnan Márquez-Borbón, Cavan Fyans and Paul Stapleton. Public launch on December 2012. Funded by Dublin City of Science.

Ground Me! / Chains of Emotion

2008-2014 Autor de las instalaciones sonoras e interactivas Ground Me! y Chains of Emotion. Ambas instalaciones utilizan la conductividad de la piel humana para generar ambientes sonoros interactivos. La instalación se estrenó el 2008 bajo el nombre Ground Me! en el Sonic Lab del Sonic Arts Research Centre (UK), para después transformarse en Chains of Emotion. Esta instalación ha sido presentada en la galería EyeBeam de Nueva York, EEUU, en el festival Electric Picnic de Irlanda y en Manila (Filipinas).

Author of interactive installations Ground Me! and Chains of Emotion that built from skin electrical conductivity to generate interactive sound environments that reflect on human social connections. Installations have been exhibited in the Electric Picnic Festival (Ireland) and galleries in New York, China, Taiwan and the Philippines.

Interactive installation that emulates the strongman game without the hammer and using electromyography to extract muscular tension. This project was installed in the Science Gallery tent at the Electric Picnic Festival in Ireland, in collaboration with Niall Coghlan and R. Benjamin Knapp.

UnSound is an interactive short-film shot and post-produced in N.Ireland that draws from the physiological response of the audience to drive in real-time the music composition as well as the selection of the pre-recorded movie scenes. UnSound was premiered in Northern Ireland and screened at the SXSW festival in 2011.

Multiple presentations with the contemporary ensamble BioMuse Trio formed by Eric Lyon, Gascia Ouzounian and Ben Knapp, measuing audience physiological responses to be utilized for real-time music compositions. This work was performed in Sydney, New York, England and Ireland, among other locations.

AffecTech is an interactive audio-visual installation which uses physiological signals from the human body to explore notions of presence, action and reaction, as experienced by the viewer. The installation uses sensor enhanced chairs, cameras, interactive visuals and surround sound audio to place two viewers into the virtual world where the mediascape is dependent on and reactive to, the similarity or disparity of their bio-signals. AffecTech was commissioned for the pre-symposium of the ISEA2009 conference.

In Chile, Javier Jaimovich released his first album with the band Sicotropa, ‘El Club de los que Escuchan Mal’ (2007), where he played electric bass, performing in multiple concerts and music festivals between 2003-2007. Sicotropa won the prize for young emerging bands in 2004.

Sound Engineer for the first sound art album recorded in Chile, which included works from renowned visual artists such as Matilde Pérez, Francisco Brugnoli, Virginia Errázuriz and Gonzalo Díaz, among many others.