Pablo Sanz is an artist, composer, and sound recordist. He makes site-specific projects, immersive installations, sonic-spatial live performances, and pieces for headphone listening. His activities are engaged with the act of listening and the exploration of sonic perception. He works primarily with environmental sound, using extended listening technologies, architectural physical space, and spatial audio strategies. Thresholds of human perception and the interrelations with nonhumans, materials, and the phenomenal world are essential in his practice.

His work is presented internationally in a variety of contexts and has been awarded in the competition ‘Europe – A Sound Panorama’ (2011, Goethe Institute, Deutschlandradio Kultur, ZKM-Karlsruhe) and the ‘5th On-Air Radiophonic Art Prize’ (2009, Círculo de Bellas Artes, Madrid). He has been artist-in-residence at Inland-Campo Adentro (Catalonia), Matadero (Madrid), Nau Côclea (Girona), FDD (Lisbon), Sonoscopia (Porto), ARE Holland (Enschede), Q-O2 (Brussels), CONA-Institute for Contemporary arts Processing (Ljubljana) and LASom-Laboratory for Sonic Arts and Acoustics (São Paulo). Recent projects include fieldwork in the central Amazon region supported by Brazilian and British research organisations, site-conditioned architectural interventions in Northern Ireland, Spain and The Netherlands, radio commissions for Radio Reina Sofía Museum in Madrid, FON Air UK, Atelier de Création Sonore Radiophonique in Belgium, and releases on Very Quiet Records (UK), Gruenrekorder (DE), Vacuamoenia (IT) and Sonic Terrain among others.

He has given lectures, courses, and workshops on active listening, environmental sonic arts, field recording, electroacoustic composition, and site-oriented projects at universities and organizations in various countries. In 2004 he was a founding member of mediateletipos.net, a collaborative independent initiative devoted to the dissemination of aural culture and sonic arts through which he contributed to several curatorial projects including commissioned programs for Sónar Festival (Barcelona) and Sensxperiment (Córdoba). In 2007 he relocated to The Netherlands, completing studies at the Institute of Sonology and the ArtScience Interfaculty in the Royal Conservatory and the Royal Academy of Arts of The Hague. Since 2013 he is engaged with the Sonic Arts Research Centre (SARC) at Queen´s University Belfast, where he has been working towards a practice-as-research PhD (Environmental Composition Approaches).