Mário Azevedo (1957). He has been an adjunct professor at ESMAE/IPP since 1996 where he currently assumes pedagogical and investigative functions. PhD in Art Education from FBAUP of the University of Porto, he is an integrated researcher and member of the Scientific Council of I2ADS (FBAUP), where he develops a work of deep attention on Art Education, Music, Aesthetics and Philosophy, an action of thought expressed in the work nuclei [Para-age-m] and Identities. He is currently finishing her post-doctorate at FBAUP, which will result in the publication of a book entitled A Escuta Infinita (The Infinite Listening). The elements of his work approach – silence, world and singularity, reified ear and ear-in-transit, open and indeterminate, disobedience and unlearning – show ruptures of meaning in contemporaneity expressed in CUs such as Phonogram and Event Analysis, World Music, Art, Sound and Technology, Aesthetics of Listening, Communication and Language and shares, with Prof. Rui Penha, an optional dedicated to the Reading and Discussion of Fundamental Texts. Author of the doctoral work entitled 4'34'' on silence and its entropy from John Cage he has been present at conferences, seminars, meetings and communications, such as What if art education would be something else? Congress in Viseu (2017), Calouste Gulbenkian Foundation and FPCEUP (2022); The submerged voice (pp. lecture/performance) with Bruno Pereira at the 5th EPRAE in Arts Education, Porto, FBAUP (2017); the World and the Other (2019) with José Paiva in Hamburg; The artisanal learning of listening at ESMAE (2021); What goes inside the lalation? Sound-reflexive questioning of the voice and listening as primary manifestations inherent to human freedom (2022), with Bruno Pereira at UNA, Buenos Aires; The School Between Deafness and Hearing, Buenos Aires, UNA (2022); Sarajevo experiment: from the performance that acts to listening that migrates, Sarajevo (2022) with Bruno Pereira, Marco Conceição and Nuno Pinto; The migrante listening (2022), Buenos Aires and Devir da Performance (lecture/performance) in S. Paulo (2023), at UNESP, with Bruno Pereira. In the field of artistic practice and research, he is a member of the project T3+1 (action and thought in performing arts) alongside António Augusto Aguiar, Bruno Pereira and Telmo Marques with whom he has been building projects such as Sobre a Balsa do Silêncio, a sketch about the word and silence at THSC/ESMAE (2017), T3+1 performances in Brussels, Maastricht (2018) and Teatro Helena Sá e Costa (2024). Making his family his locus amoenus, he plays the lute and paper accordion on the sly, and is particularly fond of Hildegard of Bingen and Josquin Desprez, Hans Memling and Thomas Hirschhorn, Gustav Mahler and John Cage, Steve Reich and Toumani Diabaté, Fernando Pessoa and Paul Celan, Robert Musil, James Joyce, Walter Benjamin, T.W. Adorno, Jorge Luis Borges, John Berger, Maria Gabriela Llansol, João Barrento, from orchids and old vines. He studied Music Pedagogy in Delft (Stichting Orffwerkgroep) with Pierre Van Hauwe, Willem Keller and Batia Strauss as teachers and was a teacher at Paula Frassinetti's High School of Education, at Colégio do Sardão, and in the Musical Pedagogy courses of Inning/Munich (Germany) and co-founder of the Orff Orchestra and Institute of Porto.