Museums and the heritage sector

I have long career in the museum sector and extensive experience in strategic thinking, project development, research, analysis, evaluation, writing, and communication. I have specialized in content development and in sonified exhibitions.

I develop narratives and exhibition content by working closely with curators, subject experts, academics, and museum practitioners. I have also specialised in helping museums reimagining their communicative approach by considering the mode of sound together with the more conventional modes. Museums have long been known to be places of silence, where you should behave quietly, silently and with proper manners. More recently, as neuroscience and technology developed, it has become clear that learning is a full body and sensorial activity and in which all the senses participate. This has facilitated sound and music to enter the museum and curators to see it as a prospective material to be exhibited. Museums are now increasingly interested in sound and music opportunities to engage museumgoers. Sound can embrace museumgoers from all sides at the same time. Also, in leading museumgoers to learn by emotion instead of through reason, sound can improve museums impacts and outcomes.

I work with museums in identifying opportunities for sonifying exhibits and exhibitions with a view to advance the understanding, appreciation, and engagement with the themes addressed by diverse audiences and as widely as possible.  

I provide research on audio-visitor experience for companies developing sonic-tech devices. My approach is multidisciplinary, while being following primarily a qualitative approach (e.g. ethnography, key informant interviews, oral histories, focus groups discussions). I provide companies with a deep understanding of the use of their sonic-tech devices in the field, i.e., by grasping the experiences and perceptions of users and key stakeholders when using those devices. Along with data collection and analysis, I also develop recommendations tailored to the needs of the companies.

I understand that an effective development of the sonic-tech is highly dependent on evidence-based approaches. This with a view to assess/evaluate and validate existent devices, to develop improved versions of them, and to develop and implement new solutions.

I assure the quality of my research. My approach is governed by researcher ethical codes of conduct while also relying on a free-bias approach. Data collection is conducted in an open and collaborative manner following the principles of freedom. Prior and informed consent, and appropriate confidentiality and data protection is applied. For the qualitative analysis of data, I use industry-standard software such as NVivo.

Projects and Exhibitions

Museu Nacional da Música
Member of the Scientific Committee
Lisbon, Portugal, 2022-23


MOMENT NYC, Museum of Music and Entertainment
Member of the Scientific Committee
New York, 2016-19

Records in the Fight
Co-curator
NOVA University Lisbon, 2016

Darwin’s Evolution
Executive Producer
Casa Andresen, Porto 2011
Parque de las Ciencias, Granada, 2010
Fundação Calouste Gulbenkian, Lisbon, 2009

INGenuity, Photography and Engineering 1846 — 2006
Executive Producer
Fundação Calouste Gulbenkian, Lisbon, 2007

At the Service of the Health
Executive Producer
Fundação Calouste Gulbenkian, Lisbon, 2007

In the Light of Einstein 1905—2005
Executive Producer
Museu Nacional da Ciência e da Técnica, Coimbra, 2006
Fundação Calouste Gulbenkian, Lisbon, 2005

Powers of Ten
Executive Producer
Fundação Calouste Gulbenkian, Lisbon, 2002