adriana  sá
trans-disciplinary   music

 

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INSTRUMENTS     BIO      AUDIO      RESEARCH & PUBLICATIONS (since 2011)      DOCUMENTARY (2003)     

 

INCLUDED MIDDLE
is the work with the most recent version of my audio-visual instrument, which includes the AG#2 software. All software versions were developed for the audio input of a zither with aged strings, a personal tuning system, and specific playing techniques. AG#2 implements the Arpeggio-Detuning software, extending its creative strategies to the audio-visual domain. The difference between the detected pitch from the zither and the closest tone/ half tone is applied to the processing of digital sound and image, as well as to the audio-visual mapping. The code was written by John Klima according my specifications. I also created the sound, the 3D world and the parameterisations.

WINDOWMATTER
was a project series developed along with AG#1, a 3D software created in collaboration with John Klima. Some of the performance works were created solo, and others with John. There was also a work gathering twelve collaborating artists, and a duo with Fala Mariam. AG#1 was developed to operate based on pitch detection from my custom zither input. Pitch detection causes pre-recorded samples to be placed in a 3D-world, while shifting a virtual camera throughout its deserted landscape. I created the world design as a moving painting; the image beamed over performer and setup is a driving picture plane.

emotional object in Geneve

EMOTIONAL OBJECT
was an interactive installation created in collaboration with John Klima, Sofia Oliveira and Jared Hawkey: a multi-user game, where up to four persons acted upon a physical mechano-sculpture and a musical composition through a digital interface. Rotating like a child's spinning top, the OBJECT, both physical and virtual, is divided in sections mapped onto 24 emotional states represented by colors and musical phrases. Each emotion provides the player with four options he had to choose from: four different actions leading to subsequent emotions. The player can only suppose about the emotional destination of an action. Players leave weights over the emotions they pass through; as these correspond to a physical location in the object, they affect its balance. The game goal is to keep the object moving and in balance; the passing through the various emotional states layers the corresponding musical phrases into an interactive soundscape.

THRESHOLDS
is an installation structured by the sounding light instrument (custom-made light sensors, i-cube and Lisa software), which translates light gradients into sound variations. It (re)establishes relationships between the site and its environmental context. Natural and artificial light as well as body shadow affect the sound behavior in real-time according to my previous programming. Sound-source materials relate to personal site-specific memories and perceptions; they are collected on-site. The set-up offers a wide range of performative possibilities. Along the day, people are shown an orchestra of slow daylight changes playing within massive sound density; the site is here maestro. When it is dark outside, the installation invites for inter-acting upon the soundscape; shadows play the sound-pictured city. By twilight, both sorts of playfulness overlap while the soundscape features peak behaviors.

MOMENT IN MOVEMENT PROJECT SERIES

META(LOCAL)MORFOSE
was an island of ocean in the middle of the city; an installation set outdoors in Lisbon, for the Luzboa Biennial. With the fade of the day, nautical codes were beamed over light sensors in water pipes; their lights shaped the soundscape modulation and topography with twelve speakers placed up in the trees. The city was offered a three-days-long immersive experience. A performance was layered upon this habitat within its last night of display; interlacing with maritime sounds were: Sei Miguel (pocket trompet); Manuel Mota  (electric guitar); David Maranha (violin & dobro);  Fala Mariam (trombone); Cesar Burago (percussion); Pedro Lourenço (light tuning); and me, Adriana Sa (zither, modular synth and light percussion).

3 x (META)LOCAL VS. WET BEHIND THE EARS
was an installation hosting performances; an unfolding exchange within Yvette Poorter's This Neck Of The Woods, in Rotterdam (a shed-sculpture to host artistic residency projects). The room I slept & lived in was transformed into a musical instrument, articulating the bodiless instrument, sounding light instrument, press and rotation sensors and light percussion; Yvette also projected disaster slides onto the light sensors.

LIFE OR LIFE - LIFE HEARD
was a performance-installation in Lisbon. I played the sounding light instrument with light projectors and my physical body shadow; in combination I played the bodiless instrument, light percussion, modular synthesizer, press and turn sensors, and a custom zither. LixoLuxo Poético was invited to play his instruments built with urban junk: "milk and soda", "insidefluxos" and "balança".

ELASTIC RETURN
was a performance-installation within a deactivated codfish factory; developed with LixoLuxo Póetico during a residency commissioned by the Circular festival, Vila do Conde. Hanging light-sensors played the ocean through Adriana's shadow, some local tools and equipments were amplified, other instruments were built upon materials gathered on-site.

 

       EARLIER PROJECT SERIES:

PARALLAX

PARALLAX DEVIATION

METAPARALLAX

THIS IS JUST TO DO

SENSATIONS LABORATORIES

       HOMIES:

SITE-SPECIFIC PAINTINGS

CHICKS CIVILIZATION

IN BETWEEN PERCEPTION AND THING
is a workshop whose underlying strategies adapt to most diverse circumstances.