|ART MUSIC PROJECTS: OVERVIEW
The Portuguese name of this performance series - which means both royal & real shantytown - is the same than the one of an off-grid place in the countryside, which I have been growing and nurturing together with John Klima . That is because the performances explore a wealth of sounds recorded there; I play custom zither and AG#3.9 - audio-visual software that processes pre-recorded sounds and 3D graphics based on pitch detection from the zither sound. Those sounds and images have interlaced with John's mandolin cello, Atau Tanaka's EMG muscle interface, Josephine Berry's spoken poetry, Maria do Mar's violin and Felice Furioso's percussion.
Following an invitation from Eufonia to participate in the Lisbon Sound Circuits (November 19th - 21st 2021), John Klima and I created a sound installation that activated an urban non-site: Rua da Bempostinha, a street in Lisbon, whose identity rarely extends beyond car parking. We made two intersecting "islands" of countryside, with soundscape compositions that recall our off-grid place in the countryside. They were played back simultaneously, through sound systems placed in front of ScratchBuilt Studios and a showroom called Utero. The loudspeakers were modified with light sensors, so that the volume of each sound source depended on the light captured by a corresponding sensor. The soundscape never repeated: it varied depending on the sun, the weather, the material architecture, local human interaction, and the specific place where a person was at the moment.
Composition that inaugurated the music webcast of Culturgest. The creative process started in April, during those strolls allowed by the mandatory confinement. I sought nothing but to capture the atmosphere of my daily walks, charged with new silences and sounds. Coincidentally, Culturgest called the next day. So, I combined this urban diary with the zither and my AG#3 software, which processes pre-recorded sounds based on the zither input.
Interview in Rimas e Batidas (Portuguese)
A musical work with Ricardo Jacinto and Yaw Tembe . The trio formed in 2019 - through a comission from Teatro do Bairro Alto (TBA), in Lisbon - and developed further with a show at Museo Vostel, in Spain. We discovered a new musical idiom with invented and modified instruments, while considering music to involve vision and space, beyond audition. Their configuration motivated the development of compositional strategies, and vice versa. The musical dramaturgy explores diverse ways of multiplying and confounding our identities, while shifting attention in-between performers, surrounding environment and other imaginary sites. Yaw plays extended trompet, and Ricardo plays extended cello. I play the zither and the AG#3 software, which processes audio samples - including sounds from the cello and the trumpet - based on pitch analysis from the zither input. Additionally, i use the light percussion instrument , i.e. an audio-generator connected to a light sensor attached to a stroboscope.
A concert with Anna Homler at Penhas.co, in Lisbon, which followed a workshop we tutored in Porto, within the Hysteria series. The press reviewed the concert as follows: "Sá played the zither in a way that sounded sometimes like a guitar, other times like a harp, and others like a medieval psaltery or even a percussion instrument; specific attacks on the strings also triggered samples that were processed in real-time." This was made with the AG#3 software, which operates based on pitch analysis from the zither input. "The sound of Homler's instruments - which consisted of children toys - added a human dimension to the strange digital sounds, whose physical origin was unidentifiable." The music oscillated between "abstract soundscapes and imaginary folk tunes, which seemed to come from the first human beings that inhabited the planet. (...) This was the best show in Lisbon, this year." In jazz.pt
A site-specific sound installation created together with John Klima, for the cloister of the Convento de S. Francisco in Coimbra (4 July - 1 September 2019). Several sound tracks are played back simultaneously through ten loudspeakers distributed through the cloister, forming a larger interactive composition. The speakers are modified with light sensors, so that the volume of each sound source depends on the light capatured by the corresponding sensor. On one side of the cloister predominate the streets of Coimbra and the doors of the convent, whose emerging musicality is accentuated with instrumental sounds. In another place, a hand-full of escudo coins thrown to the floor of the church creates percussive moments. In yet another, the water in the cistern bellow the cloister is amplified with consistency, rocking the visitor. The soundscape never repeats: it varies depending on the hour of the day, the meteorological conditions, the material architecture, and the specific place where a person is at the moment.
Sound and + info
A project series with John Klima. After the site-specific performance String Practice #1 (see bellow), we decided to develop the work with portable instruments, and a new graphic score. John performs with a metal instrument, capturing magnetic resonances with pickups made from scratch. I perform with zither and AG#3 - audio-visual 3D software that processes sound and image based on pitch detection from the zither input. Outdoor performances with daylight dispense with visual projection, but in indoor performances, the image creates a dynamic stage scene. Its role is to produce a surplus of perceptual effects, and simultaneously allow for attention to focus on the relations between the sounds.
Performed at the Botanical Garden in Coimbra, at Silos in Caldas da Rainha, and The New Art Fest in Lisbon.
TO AGITATE THE WATERS TO BETTER SEE THE DEPTH
STRING PRACTICE #1
Project series with the second version of my audio-visual instrument, with the AG#2 software. All software versions were developed for the audio input of a zither with aged strings, a personal tuning system, and specific playing techniques. Since AG#2, the difference between the detected pitch and the closest tone/ half tone is applied to the processing of digital sound and image, as well as to the audio-visual mapping. The code was written by John Klima according my specifications. I also created the sound, the 3D world and the parameterisations. Performances were in Lisbon, Viseu and London.
3 x (META)LOCAL VS. WET BEHIND THE EARS
3 x (META)LOCAL VS. WET BEHIND THE EARS
LIFE OR LIFE - LIFE HEARD
Project-series with instruments that connected music, light, architecture and movement: the sounding light instrument (custom-made light sensors, i-cube and Lisa software), the bodiless instrument (amplified wires streched in space) and the light percussion instrument (audio generator sound controlled by a light sensor attached to a stroboscope). See documentary (Pt)
Works 2002 / 3:
PORTABLE VERSIONS WITH VERSITLE SCORE
MUSIC SHADOW THEATRE
Project series that explored different ways of making the physical space sensitive and reactive. My previous Parallax series often incorporated works by other artists. The question now was how to collaborate without dominating. See documentary (Pt)
Project series that explored the versatility of the sounding light instrument and the bodiless instrument so as to connect music, light, physical space and movement. See documentary (Pt)
This project grew from the wish of simplifying the instruments used in Parallax (see above). The architectural setup of the sounding light instrument and the calibration of light sensors always required a long period of time. In this new work, the light source affecting the sound came from a video beamer. The light captured by the sensors became easier to control once they were put in vertical pipes. Performances in 2005 were at Herz_Extend Festival (Portugal) and Atlantic Waves Festival (London).
THIS IS JUST TO DO
This work explored the confllct between a speech about art and the experience of an art. The works were performed in Portugal and the U.S. (1997-1999).