- Viagem no tempo com Pedro Tudela, Constança Babo » 2015
- Pedro Tudela - s/título, Fernando José Pereira » 2015
- Pedro Tudela, Pedro Pousada » 2014
- 00∞, Miguel Carvalhais » 2014
- 00∞ possibilidades de leitura, Diniz Cayolla Ribeiro » 2014
- o-f-m-o-n-o-f-o-r-m-o-n-o, Pedro Tudela » 2013
- Mono #2 - Cochlear Poetics . Writings on Music and Sound Arts
- o-f-m-o-n-o-f-o-r-m-o-n-o (PT), Pedro Tudela » 2013
- ...flexo, 2005, Pedro Tudela » 2011
- edição e/ou replicação, João Silvério » 2011
- publication and/or replication, João Silvério » 2011
- Pedro Tudela · Uma janela aberta para dentro, Anabela Santos » 2010
- Marginalia d’après Edgar Allan Poe, Maria de Fátima Lambert » 2010
- O erro como matéria-prima, Raquel Guerra » 2010
- Up Side Down, Pedro Tudela » 2008
- Die Materie Des Geheimnisses, Maria Leonor Nunes » 2008
- A matéria do segredo, Maria Leonor Nunes » 2008
- Aparecer, Desaparecer, José Luís Porfírio » 2008
- Espaços com segredos, Luisa Soares Oliveira » 2008
- Encontro com Arte, Ricardo Oliveros » 2005
- Po-Logne, João Sousa Cardoso » 2005
- Jogo de espelhos, Óscar Faria » 2005
- Da Instalação à Cenografia, João Mendes Ribeiro » 2005
- As Múltiplas Formas de Um Corpo, Óscar Faria » 2004
- Pedro Tudela Interview, Guillermo Escudero » 2004
- A Quarta Dimensão, João Sousa Cardoso » 2004
- Dentro de Contrários, Pedro Tudela » 2004
- Over Plasticity: Sound Cartographies, Miguel Leal » 2004
- Sobre a plasticidade: cartografias sonoras, Miguel Leal » 2004
- Pedro Tudela: The Provocation of the Place, between Image and Sound, João Fernandes » 2004
- Pedro Tudela: A provocação do lugar, entre a imagem e o som, João Fernandes » 2004
- Pedro Tudela · Là Où Je Dors, Aurelio Cianciotta » 2004
- Pedro Tudela · Là Où Je Dors, Guillermo Escudero » 2004
- A experiência do lugar na obra pt 12072001rj do artista Pedro Tudela, Paulo Reis » 2003
- The experience of the place in the work pt 12072001rj by the artist Pedro Tudela, Paulo Reis » 2003
- "Cardinales": Marco-Museu de Arte Contemporanea - Reviews: Vigo, Spain - Inaugural Show of New Museum, Alexandre Melo » 2003
- Sombras Comuns, Óscar Faria » 2003
- Pedro Tudela · Là Où Je Dors (Crónica), Olli Siebelt » 2003
- Os Percursos da Memória, Óscar Faria » 2001
- O Acidente das Imagens, João Sousa Cardoso » 2001
- The Accident of Images, João Sousa Cardoso » 2001
- Cidades Devassadas, Luiz Camillo Osorio » 2001
- The places of an experience, Bernardo Pinto de Almeida » 2001
- Os lugares de uma experiência, Bernardo Pinto de Almeida » 2001
- (No Início do Século XXI, Alguns Artistas Sabem Muito Bem…), Bernardo Pinto de Almeida » 2001
- Sensorial, Total, Alexandre Melo » 2000
- Sensorial, Total, Alexandre Melo » 2000
- A Arte do Acidente, Miguel Leal » 1999
- The Art of the Accident, Miguel Leal » 1999
- O Treino, Fernando José Pereira » 1999
- The Practice, Fernando José Pereira » 1999
- Rastos, Restos, Rostos, Bernardo Pinto de Almeida » 1998
- Negra "performance", Óscar Faria » 1998
- Constelações Afectivas, Eduardo Paz Barroso » 1998
- Sem Título, Miguel von Hafe Pérez » 1997
- A Dupla Visibilidade do Olhar, Paulo Cunha e Silva » 1996
- Óculos, Pedro Proença » 1996
- Os Caminhos do Coração, Rosa Alice Branco » 1994
- O Coração à Boca, Jorge Colombo » 1994
- O Mergulhador Musical, Alexandre Melo » 1992
- A Alma é Húmida, Al Berto » 1991
- A Natureza Nunca Existiu, João Pinharanda » 1989
- O Jogo dos Pretextos, Alexandre Melo » 1987
- Portugal Emigrante, Bernardo Pinto de Almeida » 1986
o-f-m-o-n-o-f-o-r-m-o-n-o
The graphic scores of o-f-m-o-n-o-f-o-r-m-o-n-o are built from the texts in this volume. The characters commonly associated with the notation of pitches keep their relative positions in the plane but are isolated from their original contexts. The outcome of this process are structures of scattered letters/notes that are used in the development of rhythms, dynamics and/or textures with the inclusion of lines, deletions and/or other blots executed in an axiomatic and malleable way. These signs are applied using painting and drawing materials, sowing lines and other techniques that are fixed upon scanning. If on one hand these result in traits that imply a procedural dynamic, on the other, the series adjusts to the rhythm of the pauses of this issue and to the reading sequences imposed on it. Four reading principles can be linked to the incentives chosen in this process:
First: start from a pre-text;
Next: define order, aggregation or isolation;
Consecutively: incorporate and adapt appropriated data;
Definitively: adopt free execution.
Published by Research Group in Art and Intermedia (NAi) Research Institute in Art, Design and Society (i2ADS) Faculty of Fine Arts, University of Porto, Portugal