Taking Brian Eno's definition of electronic ambient music as a starting point, this first article seeks to build possible archaeology of this genre by presenting and analyzing a group of authors and works. These aresituated from the first musical compositions and sound experiments at the end of century 19th and early 20th century, until the experimental dynamics which challenged the concept of music and opened newpaths to sound experimentalism of the mid-20th century.The transversal idea to the development of this genre is that electronic ambient music starts from an attempt to use the form of sound as the foreground instead of resorting to melody voices or any other classical orpop music structure. But despite the existence of several anthologies and various academic articles and manifestos on ambient electronic music, this subgenre of electronic music remains as elusive andindeterminate as its origins.Electronic ambient music is also examined as one vision among many, as a genre and a musical style. It likewise discussed its emergence as a term (ambient) and a genre that seeks to induce calm and a space forthinking

This article departs from the definition for ambient electronic music, as an inductive element for the creation of a space to think, and presents a set of authors and sound works orientated towards a concern with space. These authors are contextualised according to the foundations of contemporary electronic music, from the mid-20th century and which are based on works that revolutionised the way in which electronic music came to be seen, up to the new expansion of electronic ambient music, with the appearance of new sonorities and new paths for this musical genre as from the 2000s, consolidating and stabilising it as a musical genre. But electronic ambient music as a genre should be seen as an overlapping of information, and not only as an interaction with an environment. Thus, we argue that the social connection of electronic ambient music to its own environment and context has changed throughout its evolution as a genre, just as this context has changed, reinforcing that the place today is a personal space, just like the listening experience associated with electronic ambient music. The present-day experience of electronic ambient music in the conception, amplification or discontinuity of places, expresses in itself the desire to exercise an internal agency or a mediation with its own surroundings, operating as a reflection of the 'I', recurring to sonorities that move the mind. An 'I' that includes the social world in which one is immersed and a representation of figurative places.

A relação entre o arquivo e as artes performativas tem vindo a ocupar um lugar de destaque no pensamento contemporâneo, desdobrando-se em diversas vertentes: o arquivo como processo, a performatividade do arquivo, o arquivo das práticas e o arquivo como prática. Este volume agrega perspetivas sobre o que constitui o arquivo na contemporaneidade, mostrando como este se constrói, dissolve e simultaneamente se materializa em formas de memória e em experiências incorporadas. O arquivo apresenta-se assim como uma categoria que se multiplica no discurso de colecionadores, arquivistas, investigadores, programadores, artistas e espectadores. Como universo plural, presente no discurso filosófico e historiográfico, traduz-se em documentos e em enunciados, continuamente arquivado e revificado, num movimento em se perdem e se ganham histórias. A leitura do índice deste livro é reveladora da abrangência temática e do olhar panorâmico que se procura lançar sobre as práticas de arquivo, em diversas inscrições disciplinares (performance, dança, teatro, música), em contexto nacional e em diálogo internacional.