Adriana Sá is a transdisciplinary artist, a performer-composer who 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. She approaches the design and development of her instrumentation as a compositional process as well, drawing musical expression from complexity and discovery.

Sá has developed and presented her work in Europe, the USA, Brazil and Japan. Her custom instrumentation emerged in the context of residencies at STEIM, Metronom Electronic Arts Studio and Experimental Intermedia Foundation New York. It was further explored through a wealth of 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 CaixaForum 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 (St Francisco, Coimbra), as well as in an active textile mill in the UK (Ultrasound Festival).  She performed with portable instrument setups at Casa da Música, Culturgest, Teatro Rivoli, Chiado Museum and Teatro do Bairro Alto (Portugal) as well as the Institute of Contemporary Arts (UK), 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 (Brazil).

After many years exclusively dedicated to artistic creation, between 2011 and 2016 she was a researcher at Goldsmiths, University of London. 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. It has been published through Routledge; the MIT, the International Association of Cinema, Audiovisual and Media Schools; McGraw Hill Education; the Journal of Science and Technology of the Arts; Editora Documenta; as well as ICLI - International Conference for Live Interfaces, xCoAx - Conference on Computation, Communication, Aesthetics & X and NIME - Conference on New Interfaces for Musical Expression. Sá chaired the ICLI conference in 2014 and 2022. She also created the Live Interfaces journal in 2023.

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 a full professor Lusófona and an integrated researcher of CICANT. Simultaneously, she continues to develop her artistic projects, frequently in collaboration with her husband, John Klima, as well as other artists and musicians.

Transdisciplinarity, Composition, Expression: Reflections of a Spherical Way of Thinking. In Leonardo, MIT

Reflexos de um pensamento esferico (adapted to Portuguese)