tangiblemode works at the intersection between arts, cognitive linguistics and technology, specialising in 3D audio applications in the creation of literary-based content (augmented reading).

Headquartered in the 22@ Innovation District in Barcelona, tangiblemode is international, multilingual and inclusive in outlook. We combine offline and online working environments with a unique workflow – merging arts, science and programming throughout our entire development process.

Natalie McQuade

Artistic Director / CEO


“When I first met Natalie, in late 2010, she was literally living on the opposite side of the planet. At first sight, I was blown away by the richness and transversality of her skills (Bio-psychology, Philosophy, Fine Arts/Sculpture/Prosthetics, Music Composition, Cello and Recorder Performance –Ancient & Contemporary–, Sound-art…), all that peppered with a natural sense of complexity –never dramatic, which I particularly appreciate. Also a very delicate, unobvious sense of humour on almost everything you can name. Academically speaking, she made me feel a little envious about Australiaʼs educational system though I suspect she doesn't represent the kind of standard outcome. Mind-blowing stuff such as a physical instrument for ʻplayingʼ colours and shapes (“Coming soon to buses”), humanoid sculptures able to listen to 3D sound (“Dummyheads-project” –placed in between prosthetic sculpture and binaural sound), as well as that intriguing title for her Masterʼs thesis: “Thresholds between knowing and not knowing…”, all of them seemed quite revealing on the tone and quality of her existing and future projects.

In 2011, we first started collaborating together professionally. With a big deal of experience around arts business and the various logistics involved, also clearly gifted and technically skilled as a project manager, she is extremely rigorous and organised to the quantum level :), a super hard worker and the best possible project/business partner. In 2013, after crossing the globe to settle in Spain, we created together tangiblemode-studio as the R+D incubation lab for the current tangiblemode SL.

Natalie loves singing. A lot.”
[Pablo re Natalie McQuade]

. . .

Natalie McQuade is a creative entrepreneur, artist, researcher and developer. A Melbourne-native and Barcelona-local, she is Artistic Director / CEO and co-founder of tangiblemode.

Natalie brings more than 10 years' industry experience in arts business, including extensive project & event management, fundraising, marketing, communications and design. Physical & digital content creation / distribution have encompassed sound-art & advanced music (3D sound environments), prosthetic sculpture, 3D modelling & animation, video, photography, writing and performance. She also has a strong background in psychology, behavioural analysis, team building, training & management.


NOV 2010 artist in residence, Can Serrat International Art Centre, El Bruc, Spain.
2009 finalist – The Churchie National Emerging Artist Award, Australia.
2009 awarded a Support Stipend by Can Serrat International Art Centre, Spain.


2011 Ugazio, Renee, “for construction method and materials please contact the artist”, exhibition essay for coming soon to buses.
2010 Holsworth, Mark, ‘Goodbye Bus‘, Melbourne Art Critic, 14th March.
2010 Ugazio, Renee, thresholds of five or more, exhibition essay for five, plus and minus.
2009 Tijs, Andrew, ‘Anode 2009: Spontaneity and trust fuels this new cross-disciplinary arts festival‘, Broadsheet Melbourne, 2nd December.
2009 Ugazio, Renee, two hundred and eleven, exhibition essay for eighty-seven.


2008 M.F.A., RMIT University – sound, sculpture, installation
2005 – 2007 Dip.Arts (Visual Arts), C.A.E. – sculpture, printmaking
2000 L.Mus.A, A.M.E.B. – music performance (recorder)
1998 – 2000 B.A., Monash University – double major in psychology & music composition

Pablo Arcent

Artistic Director / COO


“My first introduction to Pablo was something of a labyrinth through Spanish, English, translations and not. Through ideas and sketches, articles and reviews, to fully-formed objects: advanced music scores (acoustic and digital instruments), mind-boggling not just for the acute attention paid to the physical interface design of the score, but the temporal interface/s involved in working with them (tools for approaching both conceptual and practical issues)… a work for 3 simultaneous orchestras exploring the possibilities of ‘differential hearing’, the clash of tiny differences in timing and pitch producing a sort of holographic sound-image… a virtual auditorium and photo-documentary of a recent recording production of an award-winning work, teasing the limits of the perception of NOW.

And then, I arrived at his project, “Todos Los Días” (audio-Poesía) – a 3D-binaural sonic-realisation of the poetry book by Paco Carreño…

Encountering this first completed Cycle (out of a total, six) was something of a revelation to me. For two reasons. It was really the first instance of a binaural work I’d heard that really belonged in binaural. That wasn’t a gimmick or a cool effect or an interesting background sensation. But used that very particular/peculiar kind of ‘virtual’ space –moreover, your sensation-perception of it– as a powerfully central part of its content. The second reason being its precise architecture, reflecting a highly sensitive understanding of the fugitive/fragile nature of 3D-binaural perception and training the listener for it. In short, it was awe-inspiring.

It also inspired first contact, long conversations and the very beginning of working in common. Pablo’s professional trajectory evolved quite a distinctive skillset –highly sensitised haptic skills involved in virtuoso instrumental music performance, visual interface design skills involved in innovating advanced music scores, extensive technical and creative experience in the complex art of 3D-audio and its new rules for mixing, highly advanced visual programming skills and object libraries, organisational skills across objects, time, people and space. Making the leap to the touch-screen, he is almost uniquely qualified to bring high-tech, highly-crafted tactile-audio-visual experiences out of the elite institutions (universities, theatres, galleries, museums) and into the hands of almost anyone-anywhere with a mobile device – a passion we both share.”
[Natalie re Pablo Arcent]

. . .

Pablo Arcent is an award-winning artist, developer & entrepreneur. He is Artistic Director / COO and co-founder of tangiblemode.

His more than 20 years' industry experience in the fields of advanced music and virtual acoustics includes innovations in interface design, digital synthesis and 3D audio. More recently, the underlying foundations of this work encompass advanced computer programming, computational linguistics (natural speech processing) as well as other AI-oriented DATA semantizations.


2003 TOKYO: Cuerdas –an excerpt from Manus I– won the Jury’s Honourable Mention at the Irino Prize Foundation of Tokyo.
1999 AMSTERDAM: nominated for the Gaudeamus Prize (Holland) for Ruido de L’âme (ars temblorosa) (1998) –for 15 amplified solo instruments and live sound projection. The work was premiered in Amsterdam by the Asko Ensemble, conducted by Ilan Volkov, during the Gaudeamus Week in September, 1999.
1994 PARIS: La Ciudad del Tiempo, selected by the Reading Panel (Comité International de lecture) of the IRCAM Institute.


2011 PARIS: IRCAM Institute (Centre Pompidou): double specialization stage on “Spatializateur” (Spat~4, a highly advanced tool for multichannel sound spatialisation and virtual acoustics processing).
1994 IRCAM Institute, studies in Computer Composition.
1992 Master Degree studies on Piano (Manuel Carra), Aesthetics and Composition at the Real Conservatorio Superior de Musica de MADRID.
1991 FRANCE: selected by Claude Helffer to take part in an intensive private Summer Course on XX Century Music along with another nine selected young musicians from all over the World (Academie Musicale de Villecroze).
1990 first studies on Electronic Music at the GMEC -Gabinete de Musica electroacústica de Cuenca- in Spain (Gabriel Brincic) later extended to other studios and researching centres (IRCAM, LIEM-cdmc).
first studies on Contemporary Piano (Jean Pierre Dupuy, Claude Helffer).
first master classes in contemporary music analysis and composition given by composers such as Luis de Pablo, Francisco Guerrero, H. Lachenmann and E. Nuñes.
1986 MADRID: studies at Real Conservatorio Superior de Música.

Cognitive Linguist /



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22@ District
08005 Barcelona



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