Maile Costa Colbert is an intermedia artist, researcher, and educator with a focus on sound and time-based media. She was PhD Research Fellow in Artistic Studies with a concentration on sound studies, cinematic sound design and art, and its relationship with soundscape ecology and archives at the Universidade Nova de Lisboa, Faculdade de Ciências Sociais e Humanas, through the Fundação para a Ciência e a Tecnologia. Her project titled, Wayback Sound Machine: Sound through time, space, and place (http://www.mailecolbert.com/proj-wayback.html), asks what we might gather from sounding the past. She is an invited Assistant Professor of Multimedia at the School of Fine Arts, University of Lisbon, and a Junior Researcher in the working group of Art and Technology at CineLab - IFILNOVA. She is a collaborator with the art organization Binaural Nodar, where she is a Digital Archive Curator, and a founding member of the Ecocinema workgroup in the Association of Moving Image Researchers (https://aim.org.pt/?p=about&sp=workgroups&l=en ), and is an editor and author at Sonic Field (http://sonicfield.org/author/mailecolbert/ ). She has exhibited, screened, and performed globally, including in The New York Film Festival, The Ear to Earth Festival for Electronic Music, MOMA, LACMA, Serralves, REDCAT Theater, Tokyo's Contact, Every Woman Biennial film, and the Berlin International Film Festival, among others. She has designed sound and composed for such works as Irene Lusztig's feature documentaries Yours in Sisterhood, The Motherhood Archives and Richland, Trang Tran's multi-channel video installation Movements: Battles and Solidarity, Rebecca Baron's film How Little We Know of Our Neighbors, Adele Horne's feature documentary The Tailenders, Isabelle Carbonell's The Blessed Assurance, Courtney Stephens and Pacho Velez's The American Sector, and Allan Sekula's epic The Lottery of the Sea.