NODE26 — Immersive Audio Network
Thursday · September 17, 2026
Immersive audio in Latin America: Building a community
Registration closed for NODE26 — see you next year!
NODE26 - Participants
NODE26 brings together people working from various perspectives in immersive and spatial audio.
In each meeting, we will share what we are working on, the questions arising in our practice, and the challenges we currently face in this field.
These are the participants for each of the three meetings.
SLOT 01 MAKING
17/9/2026
01:00pm
(GMT-3) Time in Buenos Aires
Argentina
Is a composer, arranger, music producer, and multi-instrumentalist. Trained at the Escuela Superior de Música Walter Malosetti and holding a degree in Composition from CEAMC, he has an extensive career in the fusion of jazz, Afro-Peruvian, traditional cumbia, and Latin American rhythms, having led ensembles such as Jué’Mandinga! and Aguafuertes, as well as participating in projects like Octafonic, Sonora Marta La Reina, and Conjunto Falopa.
Co-director of the Domus Artis cultural space in Villa Urquiza, Huici connects independent creation with research in sound technology, installation design, and audiovisual production. His work integrates immersive audio systems and narrative-sound spatialization, conceiving three-dimensional space as a key compositional axis to transform concerts and installations into immersive, interactive aesthetic experiences.
Nicolas Shahbenderian
Argentina
Is a music producer, sound designer, and immersive audio infrastructure specialist. He is the founder and director of Portal Estudios, a cutting-edge production and post-production complex located in the northern suburbs of Greater Buenos Aires, equipped with a 7.1.4 control room.
From this space, Shahbenderian connects audio engineering with conceptual and artistic design, driving the adoption of multichannel and immersive technologies (Dolby Atmos and three-dimensional formats) for music, the audiovisual sector, and live stage experiences. His work focuses on creating workflows of high technical precision and developing immersive content that redefines the spatial relationship between sound and the audience.
Marcos Cukier
Argentina
Is a musician, producer, and sound creator focused on the exploration of immersive audio applied to performing arts and live shows. His artistic pursuit centers on moving sound’s three-dimensionality from the traditional studio environment onto the stage, turning spatialization into an active element of live performance.
In collaboration with Nicolás Shahbenderian and the Domus Artis team, Cukier develops a real-time mixing workflow in Dolby Atmos designed for his performances. His work connects dynamic processing and multichannel architectures to expand the technological and narrative possibilities of the live concert.
Link:
Fränk Zimmer
Austria
Is a media artist, curator, and producer based in Austria with a background in communications engineering and musicology.
Co-curator of the ORF musikprotokoll festival and founder of the Sounding Future platform, his work focuses on 3D audio, open-source software, and the development of interactive listening environments for sound installations.
Arturo Amador Martinez
México
Is a sound engineer, technical consultant, and immersive systems designer specializing in large-scale live productions and sound architecture for exhibition spaces and museums through Immersive Soundwave.
With a distinguished track record in electroacoustic rigging and large-format narrative sound spatialization, he has participated in high-profile technical productions such as Nacho Cano’s musical Malinche (where he collaborated on the integration of immersive sound systems and complex miking setup). He is currently developing the spatial audio design for the Emmanuel Sinfónico Inmersivo tour, bridging multichannel technologies, real-time spatialization engines, and applied acoustics to bring the three-dimensional experience to large-scale concerts and museum venues.
Argentina
Is a creative and immersive production professional specializing in the design of transmedia and interactive experiences. His practice connects the use of emerging technologies, stage narrative, and spatialized audio design to transform physical and virtual spaces into dynamic sensory environments.
Within the HUMANIDAD project, his work focuses on the conceptualization and development of real-time immersive performances. Through the integration of multichannel systems, interactive processing, and sound spatialization architectures, Buhlman projects living stages where sound technology dialogs organically with stage performance and audience immersion.
Lucas Bárcena
Argentina
Is a researcher, musician, and fellow of the National Interuniversity Council (CIN), specializing in applied acoustics and the technical analysis of immersive sound reproduction environments. His research activity takes place at the National University of Quilmes (UNQ), where he is part of the Systems and Spatiality in Sound Art (SEAS) Research Program within the university’s R&D programs.
His scientific and technical work focuses on the project “Characterization and Calibration of Multichannel Sound Reproduction Systems,” investigating electroacoustic measurement methods, frequency and phase response optimization, and the standardization of calibration criteria for multichannel and 3D audio environments. Through this approach, Bárcena contributes metric rigor and a research foundation to the implementation of immersive sound infrastructures across both academic spheres and the development of high-precision sound installations.
United States
Has been working with spatial audio since 2011 when she first gained access to her local planetarium’s 15.1 channel surround system. Since then she has been continuously building toolsets in Max MSP to create large textured soundscapes that explore space, movement, and interaction. She is both a technician and an artist.
She is currently co-host of the Immersive Audio Podcast and helps to host the Spatial Audio Meetups organized by NOTAM. She is a presenter of workshops in her field and has performed in this capacity at IRCAM Forums, SXSW Ableton Loop , IMERSA Summit, and NIME , among others.
Javiera Palominos
Chile
Sound Engineer from the University of Chile specializing in film post-production and mixing in 5.1, 7.1, and Dolby Atmos (certified in 2024). She is a member of the Creative Technological Revolution Center (CRTIC) and has a distinguished track record in film and television projects such as The Eternal Memory (La memoria infinita) and The Delinquents (Los delincuentes).
Her work excels in the design and mixing of immersive soundscapes, such as the sound reconstruction of Selk’nam life in Tierra del Fuego, developed in collaboration with the Martín Gusinde Foundation, the Ethnological Museum of Berlin, Sonamos, and the Museo del Sonido.
Marcelo Wilberger
Argentina
Tomas Ramirez Moreno
México
Is a voice talent, podcaster, and cultural manager focused on documenting and broadcasting the sound heritage of Oaxaca through the Oaxacan Collective for the Diffusion of Culture and the Arts (CODICULTA A.C.). As a content creator and radio producer at Ejuteca Radio, he drives the production of audio dramas in the Baúl de las Leyendas project, preserving oral tradition and dramatic storytelling in audio format.
His field work stands out in Paisaje Sonoro Oaxaca, an initiative dedicated to recording and preserving the sounds of the countryside and the region’s natural environment. From this platform, Tomás combines voice work, sound design, and acoustic recording to connect audiences with cultural identity and attentive listening to the territory.
SLOT 02 LISTEN
17/9/2026
04:00pm
(GMT-3) Time in Buenos Aires
Argentina
Is a composer, clarinetist, researcher, and educator. She has a solid academic background with a Bachelor’s degree in Contemporary Music (CEAMC), a Bachelor’s degree in Educational Sciences (USAL), and a Master’s degree in Musical Creation, New Technologies, and Traditional Arts (UNTREF), where she also serves as coordinator for graduate programs in Sound Art.
Recipient of national and international awards, she combines ensemble performance with educational projects on sound art and childhood. In addition, as founder and director of the Domus Artis Cultural Space, she connects artistic creation with new technologies and independent cultural management.
Carla Gomez
Argentina
Is a recording and post-production technician graduated from Tecson. She carries out her technical work at the Arts Center of the National University of La Plata (UNLP), where she also teaches workshops and specialized courses.
Her career is notable for connecting sound with culture and social movements, having coordinated technical operations at the Teatro Argentino de La Plata, the TACEC (Experimentation Center of Teatro Argentino), and the Plurinational Meeting of Women and Dissidences. In addition to her work as a freelance sound engineer, she is a founding member of the non-profit organization Red Multisonora (RMS).
Julieta Agriano
Argentina|México
Is a curator, researcher, and cultural manager specializing in electronic and digital arts. Holding a degree in Communication Sciences from the University of Buenos Aires (UBA) and with a background coordinating Noviembre Digital at the Centro Cultural San Martín, she founded and became the director of WIP Arte Digital in 2019, a Latin American platform focused on technical-artistic training and the critical approach to contemporary technologies.
Her work centers on the intersection of new media, pedagogical research, and the analysis of creative methodologies. She designs and teaches educational programs aimed at strengthening digital art practices, fostering learning environments for emerging tools, symbolic production processes, and the construction of collaborative communities within the cultural scene.
Francisco J Rivas (Tito Rivas)
México
Is a sound artist, musician, cultural manager, and researcher. Holding a Ph.D. in Music Technology from UNAM and specializing in the philosophy and archaeology of listening, he has an extensive career in public and institutional management, having served as director of Ex Teresa Arte Actual and as general director of the Fonoteca Nacional de México.
A pioneer in the experimentation and preservation of acoustic heritage, he was part of the founding team of the Fonoteca Nacional in 2008, where he promoted sound creation and research projects. His work stands out for the use of immersive technologies and multichannel spatialization—with initiatives such as Sonidario, the venue’s specialized immersive spatial listening room—to explore soundscapes, the conservation of acoustic archives, and the creation of immersive listening experiences for the public.
Sofía Lecuona Pugno
Argentina
(Nait Saves) is an soundscaper and composer of cinematic electronic, organic ambient, and score music. Trained in Composition (UNR), Music Education, and Sound Design (UTN), her work intertwines active listening to nature, improvisation, and hybrid sound processing (synthesizers, virtual orchestration, and foley).
Her career encompasses soundtracks for film and series, as well as immersive installations on international stages such as MUTEK. She is a member of Micelia—a collective platform for women and dissidences in immersive, electronic, and performative arts, projecting work from Argentina to the world. She was also part of the Amplify D.A.I network and collaborates on interdisciplinary projects exploring identity, landscape, and sound spatiality.
Leandro Ragusa
Argentina
Is an composer, bandoneonist, and musical director with a distinguished international career. Specializing in the intersection of tango, contemporary classical music, and electroacoustics, his artistic work spans from improvisation and live coding to the creation of repertoire for chamber ensembles and immersive formats.
He has led and performed with innovative ensembles such as the Quinteto de Academia and the Néons Quartet, in addition to collaborating with renowned orchestras and chamber groups worldwide. His work explores the versatility of the bandoneon within technological contexts and sound spatialization, establishing him as a key figure in the aesthetic renewal of contemporary Latin American music.
Mariano Capone
Argentina
Is an executive producer, developer, and technology manager who serves as the founder and director of Aluvión Zoo—a studio specializing in the design of transmedia content, innovative projects, and immersive experiences that integrate emerging technologies for the Cultural and Creative Industries.
Through Aluvión Zoo, he has driven Territorio Digital, a Latin American Hub for Smart Immersive Learning and Technological Convergence aimed at developing competencies in training, research, and innovation (R&D&i) around XR. His work connects universities, corporations, and public entities across the region through laboratories, customized training programs, and knowledge-transfer projects bridging art, education, and industry.
Pablo Rios
Argentina
Is a composer, sound designer, and educator with over 15 years of experience at the intersection of music, active listening, and narrative creation. Based in Bariloche, Argentina, his work encompasses composition for theater, performance, and installations, placing conscious listening—rather than technique—as his aesthetic and conceptual starting point.
Through his platform Territorio Sonoro, he leads training laboratories and creative mentorships for artists, exploring how the acoustic dimension amplifies a work’s narrative meaning. His output ranges from collective pieces and site-specific sound interventions to sound composition and direction for stage and audiovisual projects.
Victoria Cosentino
Argentina
Is a professional in business development, strategic alliances, and equipment integration at Tevelam, a leading Argentine company in the representation, distribution, and manufacturing of professional audio equipment, musical instruments, and lighting.
At Tevelam, his work focuses on bridging the adoption of cutting-edge sound technologies with the technical needs of production studios, cultural institutions, and industry professionals. His role facilitates the connection between international professional audio brands and the local ecosystem, driving the integration of specialized technical infrastructure and immersive audio solutions across independent and institutional projects.
Juliana Ortigoza
Colombia
Is a Colombian composer, guitarist, and electronic artist specializing in electroacoustic music, mixed music, and multichannel spatialization. Holding a Bachelor of Music degree from Universidad El Bosque and postgraduate studies in Composition with New Technologies from the Universidad Internacional de La Rioja, her work combines acoustic instrumentation with live coding, 3D design, video mapping, and human-technology interaction.
Recognized for her chamber and interactive compositions and awarded art-and-science development grants such as Plataforma Bogotá, she has completed international residencies, including one at the Mexican Center for Music and Sonic Arts (CMMAS). In addition to her teaching and research activities at the university level, she promotes training initiatives and feminist management platforms focused on sound synthesis, creative coding, and the dissemination of new music in Latin America.
SLOT 03 FUTURE
17/9/2026
07:00pm
(GMT-3) Time in Buenos Aires
Carlos Cortés Navarrete
México
Is a renowned re-recording mixer and sound designer. His work in acoustic architecture design and cinematic mixing was honored with the Academy Award and the BAFTA Award for Best Sound in 2021 for his acclaimed work on the film Sound of Metal.
Trained in audio engineering and acoustics, he has a solid career in international and Latin American cinema, having worked on fiction and documentary productions such as La Tempestad, Nuestro tiempo, and Los herederos. As a key professional in top-tier post-production studios and projects like Phonolab, his practice stands out for its technical precision in multichannel environments, narrative sound spatialization, and innovation in auditory processing for contemporary cinema.
Federico Maiocchi
Argentina
Is a double bassist, composer, and music production specialist. He plays a key role as a Music Production Advisor at Equaphon—the official representative and distributor in Argentina of high-end professional audio brands such as Genelec—where he combines his artistic background with the demonstration, integration, and implementation of cutting-edge production and monitoring tools.
As a musician, he has a distinguished career in the contemporary tango scene and Argentine avant-garde music, having been a member of pivotal ensembles such as Astillero, Orquesta Típica Julián Peralta, and Quinteto Criollo González Calo. His technical and commercial work at Equaphon directly bridges the aesthetic perspective of the music creator with the adoption of precision sound technologies.
Daz Disley
United Kingdom
Is a British transdisciplinary artist, software developer, and technologist focusing on sound art, creative computing, and time-based media. With a background in music production and large-format surround audio engineering, his practice investigates temporality, experimental technology, and the development of custom tools (C++, HLSL, VSTs) both for his own work and for the technical facilitation of artistic projects.
His work encompasses the installation of multichannel and immersive sound systems in galleries and museums, video dance, performance for camera, and live visual development (VJing). He is a member of the SlumGothic collective at the x-church cultural center (UK) and a visiting lecturer and researcher in European master’s degree programs, promoting the use of art and technology as catalysts for innovation and social cohesion.
Mario Yarke
Argentina
Is a musician, keyboardist, composer, and engineer specializing in sound technology. Recognized for his trajectory as a founding member of Karamelo Santo—an emblematic Latin American rock and fusion band formed in Mendoza in 1992—he combines musical creation and performance with a solid technical foundation in sound solution development.
His professional profile bridges live performance with applied engineering, ranging from arrangement design and synthesizer integration to the optimization of technical infrastructure for live music, production, and sound processing.
Monica Sorroza Hernandez
México
Is a producer, broadcaster, sound manager, and creator. Her work encompasses community and independent radio, public broadcasting, spoken word, and experimental sound art.
She has been an active collaborator on key platforms within Mexico’s independent and radio scenes, such as Radio Nopal—a community and independent station based in Mexico City—and in public radio spaces like the program Resistencia Modulada on Radio UNAM. Her professional work stands out for its exploration of the voice, expanded poetry, creation with a gender perspective, and the production of radio and research content, having received recognition in international sound production competitions such as the Bienal Internacional de Radio.
Argentina
Is a sound designer, educator, and audiovisual maker specializing in immersive audio, interactive environments, and game audio. Holding a Bachelor’s degree in Audiovisual Arts with a focus on Audiovision from the Universidad Nacional de las Artes (UNA), with additional training from ENERC and TECSON, his practice combines the rigor of film post-production with sound exploration in immersive media and technological interactivity.
He is the founder and director of ESTUDIO i, a studio focused on sound design and spatialized audio implementation for video games, Virtual/Augmented Reality (XR) developments, and audiovisual content. Concurrently, he maintains an extensive teaching career as technical coordinator and lead audio instructor at Image Campus, promoting research into narrative sound spatialization, audio middleware engines (Wwise, FMOD), and the integration of 3D audio technologies across national and international industries.
Supported by:
Sol Rezza (Host)
Is a audio engineer, sound designer, composer, and strategic consultant specializing in immersive audio technologies, spatialization, and digital narrative. Her international career bridges electroacoustic rigor with artistic research and psychoacoustics, exploring the use of multichannel systems (Ambisonics, object-based audio, and binaural) across soundscapes, 3D installations, and transmedia works presented on platforms such as MUTEK, CTM Festival, and IRCAM Forum.
As a consultant and researcher, she focuses on developing customized workflows and driving the sustainable, interoperable adoption of emerging technologies—including spatial audio tools and artificial intelligence. Her work reduces technical friction for studios, producers, and sound designers, promoting integration guidelines grounded in cultural awareness and accessibility that transform the perception of space and the contemporary listening experience.