Linde emerged from a collaboration with researcher Alfonso Renart and the ‘Circuit Dynamics & Computation’ lab at the Champalimaud Centre for the Unknown, within the framework of the Bridges to the Unknown art-science residency.
Linde is a multichannel minimalist sonic performance that explores the thresholds of spatial auditory perception. Rooted in a revisiting of Diana Deutsch’s research on auditory illusions—particularly her experiments on lateralization and pitch—the work investigates how shifts in pitch and timbre influence our perception of sound location, using electronically synthesized fragments that emerge and dissolve across the space in real-time. These minimal sonic events generate subtle acoustic illusions and spatial displacements, inviting the listener into a shifting field of perceptual ambiguity.
Through this, the piece navigates the delicate interplay between presence, absence, and the instability of auditory perception over time.
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Nico Espinoza is a Chilean Lisbon-based sound artist, composer, and researcher whose practice interrogates the mutual becoming of collectivity—how material, technical, natural, and human agencies entwine to shape dynamic systems of relation. Tuning into reality through a sonic sensibility, his work explores the continuous reconfiguration of these entanglements, probing how environments, gestures, and technologies co-transform one another.
His research manifests in sound installations, performances and radio piecs that reject fixed definitions of sound, instead engaging its fluid potentials: as force, trace, object, or relational process within shifting networks of resonance and feedback. His collaborations have been exhibited internationally at institutions like Art Basel, the BoCA Biennial, and Lisboa Soa, alongside residencies in Austria (Ars Electronica), Brazil, Chile (Espacios Resonantes), Denmark (Sound Art Lab), Portugal (Animais and Champalimaud Foundation) and Spain (Roca Umbert. Fàbrica de les Arts). Bridging disciplines, he designs sound devices for architectural spaces (e.g., the Brazil Pavilion at Expo 2020), sonic experiences for scientific initiatives (Champalimaud Foundation, Matters of Activity), and workshops for experimental education programs (Museu do Amanhã, NowHere Lisbon).
Holding a master’s degrees in Sound Studies & Sonic Arts (UdK Berlin) and Electronics (Santa María Technical University, Chile), His work reflects a hybrid of rigorous technical inquiry and speculative artistic exploration—a practice attuned to the politics of perception and the emergent dynamics of collective life.
