adriana  sá
trans-disciplinary   music
     Interactive performances &
     installations since 1997: overview
     Articles & abstracts
     + editorial work
     Recordings of performances and
     A perceptual approach to
     audio-visual instrument design
     Graphic scores with
     personal notation system
     PhD in Arts and Computational
     Technologies at Goldsmiths
     Some performances, software demos
     and a TV documentary
ICLI 2022 & ICLI 2014
     Org: International Conference
     on Live Interfaces
     Instruments created and
     explored since 2002
     Materials created for graduate
     and undergraduate courses
     Miniature sculptures
     & site-specific paintings
     adriana [at]

Adriana Sá is transdisciplinary artist, performer-musician-composer. She considers that music involves vision and space, beyond audition. Her graphic scores suggest sonic texture, density, playing techniques and sequence variations, while leaving other aspects open to interpretation. Similarly, she designs and develops her instrumentation so as to enable complexity, unpredictability and discovery.

Between 1998 and 2008, Sá used sensor technologies to explore music connected to light, space, movement, architecture, weather and social context; her architecturally-scaled instruments combined analogue and digital components. In 2008 her practice turned to audio-visual performance. Her bridging of creative practice and perception science informed the development of audio-visual 3D software, which operates based on pitch detection from a custom zither input.

Sá has been developing and presenting her work in Europe, USA, Brasil and Japan since 1997. Her creative process has been fed through the collaboration with a wealth of different artists. Her custom instrumentation emerged in the context of residencies at STEIM, Metronom Electronic Arts Studio and Experimental Intermedia Foundation NY. It was further explored throughout site-specific projects, presented at the Aomori Contemporary Art Center in Japan, the Calouste Gulbenkian Foundation, the Serralves Museum and the Maria Matos Theatre in Portugal, at Caixa Forum and Arteleku in Spain, Monty in Belgium and EyeBeam in NY, among many other venues. She also presented site-specific work in a codfish-drying factory (Circular Festival), a chapel (Colina Project), a cave with water (Lisboa Soa Festival) and a convent (S.Francis, Coimbra), as well as in an active a textile mill in the U.K. (Ultrasound Festival).  She performed with portable instrument setups at Casa da Música, Culturgest, Teatro Rivoli and Chiado Museum (Portugal) as well as the Institute of Contemporary Arts (U.K.), among many other venues. Other performances and installations were presented in festivals such as Atlantic Waves (UK), Luzboa Biannual (Portugal), xxxxx (UK), Version Beta (Switzerland) and Festival Novas Frequências (Brasil).

After many years exclusively dedicated to her artistic practice, in 2009 Sá entered the academic world, teaching at ESAD - Upper School of Art and Design / Polytechnic Institute Leiria. Between 2011 and 2016 she was a researcher at Goldsmiths University of London, together with Atau Tanaka, Mick Grierson and the EAVI research group. She obtained a PhD in Arts and Computing, with a grant from the Foundation for Science and Technology. Her research bridges artistic practice, interaction design, audio-visual theory, neuroscience and experimental psychology. Her scientific work was published by the MIT (Leonardo Almanac and Leonardo Transactions), the Journal Of Science And Technology Of The Arts, the ICLI - International Conference for Live Interfaces, the xCoAx - Conference on Computation, Communication, Aesthetics & X and the NIME - Conference on New Interfaces for Musical Expression, a.o.. Sá chaired the ICLI conference in 2014, and is a member of its steering committee. Since 2016 she has been a professor at Coimbra University (2016-18), ESAD / Upper School for Arts and Design (2016-2020) and Lusófona University Lisbon (since 2016). She is now fully engaged with the later, as an integrated researcher of CICANT and board professor. Simultaneously she continues to develop her artistic projects, frequently in collaboration with her husband John Klima as well as other artists and musicians.

Reflexos de um pensamento esferico (world view, in Portuguese)

Interview for Oro Molido #54 (in English)