Aqui está a informação + links cedida pela Prof. Adriana Sá na sequência do Seminário 2.
Gesture is movement with intrinsic meaning. Physical phenomena trigger meanings and meanings trigger physical phenomena. The relationship between cause and consequence is blurry in terms of performance. It shapes organic, non-linear timelines.
Sensations are products of context. Prior to awareness, they are ‘selected’ subjectively by each individual’s body through the orientating reaction – a biological function that exists to prevent us from a permanent stimuli overload. I am interested upon these physical criterion… this body-intelligence.
Performative creation means a personal exposure within the game between the control over what is happening and the acceptance-integration of the unexpected. My technical practice follows the natural esthetic of the making and implies the positive assimilation of ‘mistake’. There is a continued investment in the ‘human behind the machine’.
In terms of instrumental preparation, ie interface design, setup and programming, each component or ‘instrumentled’ is methodically considered within its specificity, ie performative control vs unpredictability; it encloses from the variable input to its corresponding variable output. The juxtaposition of multiple instrumentleds implies the layering of simultaneous behaviors, generating complexity. It is this complexity that sets the playground for my performances and installations.
http://www.cityarts.com/adrianasa/PDC/digitalanalogic.htm
Sounding light instrument
The ‘SOUNDING LIGHT INSTRUMENT’ (custom-made light sensors, i-cube and Lisa software) unfolds into a big range of performative possibilities. It translates changeable light gradients into parametric sound variations. Natural and artificial light, body shadow or video affect the sound behavior in real-time according to my previous programming. The inconstant behaviour of light guarantees a certain range of unpredictability. The software allows for sample processing, frequency generation/ modulation/ mix or live-input processing.
The ‘audio product’ is determined by digital functions featuring light as a cause and sound as an effect. I like this instrument to (re)establish the relationships between a site and its environmental context. Its physical and visual aspects unfold sculptural characterictics as well. For example, the sensors have very long cables that hang as volumetric drawings in the room. All this instrument’s components are re-programmable and re-shapeable. It mediates organic/ musical responses to the expressiveness of light, gesture and video.
Each instrumentled comprises:
sensor / channel configured and assigned in the Icube / voice(s) configured and assigned in Lisa / audio output(s)
1. Physical input: local meteorology and body movement
thresholds
http://adrianasa.planetaclix.pt/docu_img/_homeT.htm
parallax lightlandscape
http://adrianasa.planetaclix.pt/docu_img/p1_img.htm
2. Physical input: artificial light and body movement
parallax musicshadowtheatre
http://adrianasa.planetaclix.pt/docu_img/p3.5.htm
3. Physical input: local meteorology video / artificial light, and body movement
moment in movement: meta(local)morphosis
http://adrianasa.planetaclix.pt/docu_img/LB.htm
Audiographics
AUDIOGRAPHICS is a software in-development with John Klima. It articulates both audio and 3D technologies. The real-time sound-spectrum produced by analogue instrumentation drives the camera-movement within a 3-D world, while simultaneously producing audio-graphical paths. Multiple software configurations can be networked.
Each instrumentled comprises:
Audio input (musical instrument) / frequency or amplitude detection / specific camera movement configured and assigned / specific sample(s) assigned, real-time selectable with gamepad / visual and audio output
Physical input: zither (or any other instrument) + gamepad (or foot switches)
windowmatter project series
http://adrianasa.planetaclix.pt/docu_img/_windowmatter.htm
