While the new social rules, resulting from the state of emergency we all live in, were in place for the Portuguese population, Adriana Sá, like many of us, looked at and listened to her city in quite a different manner. The way she perceived her surroundings has changed, leading her to go through the contradictions, and even the paradoxes, that exist between the inner and the outer worlds, between private and public spaces.
During those strolls allowed by the mandatory confinement, she recorded short and well-ordered sound diaries which documented, by chance not by design, the route she took from her home to the brink of the riverbank. She pursued nothing but to seize a new atmosphere charged with new silences, but also, and above all, new noises, tensions and sounds, as though a renewed catalogue of stimuli would alter the multi-sensorial landscape. She then combined these sounds according to their sequential order, aiming to explore the dramaturgy of her daily walks.
Following Culturgest’s invite, Adriana Sá decided to address this urban diary as a soothing score of shapes and colours, combining it with the zither and with a software that treats pre-recorded sounds based on the input of that instrument. Lisbon has been the central character of her compositions, but only in “Agora” does it seem to command our attention so clearly, pointing out the multiple directions she suggests, and giving us clues to connect with the city.
Adriana Sá's journey, and her awareness of that unrepeatable time, has been solo and unique. But the music she recorded and created will also be a musical atmosphere, one that is likely to serve the recent collective memory of the days when we all slowed down the city we live in. As a result, we might hear more, and better, all that is around us: some of the answers we are seeking may be drifting in the sound spectrum that surrounds us.
field recordings, zither, software reactivo, mixing
zither recording (ScratchBuilt Studios), analogical reverberation instruments recording
John Klima, Rafael Toral, Tó Trips, Pedro Santos, Afonso Serro, Linn Lemyere, Fernando Galrito, Paulo Almeida, Eliane Alves, Felipe Alves Portela e Paulo Silva pelo feedback ao logo do processo criativo. Yaw Tembe e Ricardo Jacinto pela cedência de alguns dos sues sons, processados com o software reactivo. Erin MacGonigle, Shelly Hirsh e Phill Niblock pelo empréstimo de fragmentos do que disseram em 2003, noutros contextos.
Adriana Sá bio
Transdisciplinary artist, performer and music composer, Adriana Sá (Lisbon, 1972) has explored the multiple interconnections of music with other arts and backgrounds. Between 1998 and 2009, she used sensor technologies to make her music interchange with light, space, movement, architecture and atmosphere. She has, since 2008, been developing and acting with an audiovisual instrument. This instrument includes a custom zither and software that teats pre-recorded sounds and 3D images by examining the sound of the zither.
Her creative process has been developed throughout residences at STEIM (Amsterdam), Metronom Electronic Arts Studio (Barcelona) and the Experimental Intermedia Foundation (New York), among others. She has presented site-specific works at Fundação Calouste Gulbenkian (Lisbon), Fundação Serralves (Porto), Aomori Contemporary Art Centre (Aomori, Japan), Caixa Forum (Madrid, Spain), Arteleku (San Sebastian, Spain), Monty (Antwerp, Belgium ) and EyeBeam (New York, USA), as well as at festivals, such as, Circular (Vila do Conde), Lisbon Sounds, New Frequencies (Rio de Janeiro, Brazil), Version Beta (Geneva, Switzerland), Sonorities (Belfast, Ireland) and Ultrasound (Huddersfield, England).
Adriana Sá gained a Doctorate Degree in "Arts and Computing" while working as a researcher at Goldsmith (University of London), between 2011 and 2016. She was researching the close relations between creative practice and perception sciences. She taught at the University of Coimbra between 2016 and 2018, and at ESAD (Caldas da Rainha) and Universidade Lusófona (Lisbon), since 2016.