Edgardo Gómez is a Berlin-based sound artist, sound engineer and researcher working across sound art, acoustic heritage, spatial audio and field recording. His practice investigates how sound shapes the perception of space, how places are heard and remembered, and how sonic experience can reveal or construct historical, material, social and imaginative dimensions of place.

Trained in sound engineering and working at the intersection of artistic research, acoustic documentation and immersive audio, Gómez develops projects that treat listening as both an aesthetic and investigative practice. His work often begins with specific sites, landscapes, architectures, memories or narratives, exploring how acoustic and spatial experiences relate to perception, transformation, cultural meaning and forms of embodied knowledge.

His methods include field recording, impulse response measurement, Ambisonic and binaural recording, soundwalks, multichannel composition, convolution auralisation, spatial sound design and site-specific or performative installation. These techniques are not approached as purely technical procedures, but as ways of creating and investigating spatial experience. Through them, Gómez examines how sound can document environments, reactivate acoustic identities, produce immersive narratives and make perceptible aspects of space that are often overlooked by visual or textual forms of representation.

A central concern in his work is acoustic heritage: the documentation, interpretation and artistic reactivation of the sonic qualities of places. This includes an interest in architectural resonance, endangered or transformed environments, dissonant heritage, urban memory and the social dimensions of listening. This line of inquiry also extends into his work with Acoustic Heritage Collective, a collaborative initiative dedicated to exploring acoustic heritage through listening practices, sound documentation, artistic research and spatial audio methodologies.

At the same time, Gómez’s practice approaches space beyond its physical or architectural dimension. Several of his projects investigate how spatial audio, immersive media and compositional strategies can shape remembered, imagined or narrative spaces. In this context, listening becomes a way to move between external environments and internal geographies: between site, memory, perception and mediated experience.

His projects frequently move between artistic production, research contexts and institutional collaboration, creating formats such as sound installations, immersive compositions, soundwalks, web-based archives, field recording projects, performances and research-based texts.

Through Acoustic Spaces, Gómez brings together these different strands of practice. The platform presents artistic works, academic contributions, acoustic documentation processes and critical listening projects concerned with the sonic, spatial and perceptual dimensions of experience. Rather than separating art, research and technical practice, Acoustic Spaces approaches them as interconnected modes of inquiry into how spaces are heard, remembered, constructed and transformed.

1996 - 2004: Universidad Tecnológica Vicente Pérez Rosales, Santiago de Chile.

Field of study: Engineering

Job title: Graduate engineer for sound and acoustics

Thesis: “Analysis of the influence of external noise sources on the noise level in classrooms of educational institutions in the Región Metropolitana, Santiago de Chile.”

2012 - 2014: Universität der Künste, Berlin, Deutschland.

Field of study: Art

Master's degree: Master's degree in ‘Sound Studies’. Master of Arts.

Master's thesis: “Auditory representation of the social structure of Berlin backyards.”

skills

• Advanced use of the English language (Level C1).

• Advanced use of the German language (level C2).

• Good knowledge of the programming language Max/MSP.

• Advanced knowledge of DAWs such as Ableton, ProTools, and Reaper

• Advanced mixing knowledge for Dolby Atmos

• Advanced knowledge of the acoustic modulation software EASERA (Electronic and Acoustic System Evaluation and Response Analysis.

• Advanced knowledge of the software SPAT for multichannel audio spatialisation.

• Advanced knowledge of multichannel sound formats such as Ambisonics, Wave Field Synthesis and IKO 3D Loudspeaker.