adriana  sá
trans-disciplinary   music


Music involves vision and spatial presence, beyond audition. It is compelling to look at creative insights through the lens of perception science, and vive-versa; particularly if one considers that designing systems and instruments is also composing experiences.
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Installation in a greenhouse TO AGITATE THE WATERS TO BETTER SEE THE DEPTH
How to intervene in the natural beauty of a cave with water? The title of this installation is borrowed from a Zen poetry book. The space is now reactive, like the body of an instrument. By producing shadow over light sensors, people activate floating metal bowls, which contain marbles. The orchestration emerges while listening to the relation between objects, space, water, and shadows. Slowly, with time for silence. The installation was made in collaboration with John Klima for the Festival Lisboa Soa 2017, which happened in a greenhouse called Estufa Fria.
String Practice STRING PRACTICE
was composed for the Festival Lisboa Soa 2017, in a greenhouse (Estufa Fria). I played my modified zither and long amplified wires (the bodiless instrument). In addition I used the audio component of the AG#3 software, processing prerecorded city sounds according to the sound frequencies from the zither and the wires. John Klima played a long steel wire, capturing its magnetic resonances with a scratch-built pickup microphone. Furthermore, the title 'String Practice' is a playful homage to string theory. String theory attempts to unify the theories of relativity and quantum mechanics. It affirms that all matter is formed of energy filaments, describing how these propagate through space and interact with each other.
Video here

ENTRETONS
A musical idea born at ScratchBuilt Studios, through the combination of pre-existing instruments and invented instruments. A travel that opens up the listening to microtonal sonorities, accentuated sparsely with floating tonal centers and percurssive punctuations. A work with a graphical score, which I made. My notation system indicates sequence, vocabulary, density and texture, leaving other aspects to free interpretation. I play the zither and a new version of the bodiless instrument, plus the audio component of the AG#2 software. John Klina plays a long wire, capturing its magnetic resonances with a scratch-built pickup microphone. Tiago Sousa plays piano, and Diana Combo plays percussion. The work was performed at O’Culto da Ajuda, Lisboa 2017 and Teatro Maria Matos, Lisboa 2018. See video here

AG3#software AG#3
is a recent version of my audio-visual 3D software, which operates based on a custom zither input. Its digital archiecture and parameterisations are similar to the ones of AG#2. John Klima adapted the code for a 3D engine called Irlicht, and the FMOD audio library. But the digital sound and image have now an urban feeling, which they never had before. I made a new 3D world and changed the digital sounds. AG#3 was premiered at ZDB, Lisbon 2017. The occasion was a show with Tó Trips and John Klima - the latest appearence of our Timespine trio.
INCLUDED MIDDLE
is a project series with the second 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.

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