INSTRUMENTATION

The 'SOUNDING LIGHT INSTRUMENT' includes light sensors, i-cube and Lisa software. It unfolds into a big range of performative possibilities. As the architecturally-scaled instrument it is, it can playfully (re)establish the relationships between a site and its environmental context.

Natural and artificial light, body shadow or video may affect the processing of audio samples, or the modulating of audio frequencies, or the processing of a live-input. The inconstant behavior of light guarantees certain unpredictability.

The physical and visual aspects of the instrument are of core importance. Sensor cables are very long; they are hung from the ceiling as volumetric drawings.




The 'SOUNDING [VIDEO]LIGHT INSTRUMENT' is a special mode of the sounding light instrument. Sound recordings are modulated and processed through video-beamed images, e.g. colors or words. Images juxtapose to affect each sensor independently, and each sensor controls multiple audio parameters. Sensor cables are in vertical pipes placed in front of the projection.

Most performances with this instrument involved a collaboration with Hugo Barbosa, for video with Modul8.

The ‘BODILESS INSTRUMENT’ is a set of long piezzo-amplified wires stretched in space and attached to the walls. It acquires a different body - e.g. different length e.g. different timbre - each time it is newly installed in a room. Adriana plays it with hands, bow and many other tools attached to a tool necklace named R2D2.

The 'LIGHT PERCUSSION INSTRUMENT' combines stroboscope, light sensor circuit and audio generator. It produces audiovisual flashes. Timbre and dynamics are live-controlled parameters.

Prepared ZITHERS are used with sampler and delay modulator. Attached are custom-made pressure sensors and rotation sensors connected to I-cube and Lisa software.

AUDIOGRAPHICS is a software articulating audio processing (FMOD) with 3D- technologies (Torque engine). It detects and analyzes the audio frequencies from analogue instruments. Accordingly, it places audio-graphic 'bread crumbs' in a 3D-world, while driving a virtual camera throughout its deserted landscape. The crumbs are pre-recorded audio samples that are also visualized as lights. The virtual camera movements equally affect the audio sample spatialization.

Adriana Sá modified software originally created by John Klima, to attend her musical manner. Modified were functions, configurations, mapping criteria, audio, 3D world design and audiovisual arquitecture.

 

OTHER INSTRUMENTAL COMPONENTS used are: vocals, samplers and various electronics including sensors.