adriana  sá
trans-disciplinary   music




This workshop's proposal is to play with structural relationships between sound, space, site, performance and meaning; while unfolding and (de)constructing logics of perception and action. Experiences, exercises and discussions invite for a musical perspective over reality. Creative work develops upon the articulation of individual and collective on-site experiences.

[... searching for something like an operational, common language?... Some articulation of meanings: if we get to know what each of us means by X and by Y, we can relate to each other without the need of my adopting your X and your adopting my Y. Together we can also develop Z, which is the field of inter-action between X and Y plus between your tendency to X and mine to Y. Z will acquire its own materiality and range of meanings, it will be unique and reveal unexpected relationships between X and Y. This is a magic game made of layered (un)balances; our common work gets structured by the relationships between our beliefs.] In "To build meanings upon Differences", by A. Sa, "The Space of Extremes / do-group", 2002, ed. Birger Sevaldson & Michael Hensel, AHO - Oslo School of Architecture


The work process focuses on thinking upon making vs. making upon thinking. Using audio tools or physical interfaces, participants are challenged to cross over any disciplinary borders. Human particularities - from skills to mistakes - are raw-material within experiments and discussions on further relation and hybridization possibilities.


Every question contains a range of contextual circumstances. However, these don't make a problem themselves: it is the way of selecting and altering the data that creates the problem. Conceptual and physical creation are one and the same. Chance is a fundamental element in the structuring process. The root of improvisation is experimentation.

The work process must be a challenge. It shall never stop to question and be questioned. It must give up any intention (determinate purpose) for creation. The making follows, as well as it is followed. It reveals. Its underlying logics attach to the concrete and ever-changing circumstances. The feeling-intervening upon-with reality overcomes the 'execution of an idea'. Present is exclusive: time of vitality.


  • How is sound captured and filtered by senses? And how is it conditioned by technological captures?
  • How does sound (re)shape when (de)contextualized from its original boundaries?
  • How do 'interior' and 'exterior' get defined in sound, where is the threshold?
  • How does body manifest in sound?
  • How does sound manifest in body?
  • What is a sound gesture?
  • How can we create the perception of movement in sound; considering psychic-sensorial relationships?
  • The layering of sounds can create dynamic morphologies. What strategies can be used?
  • Silence is an abstraction with many meanings and functions. What are these and how do they come to being?
  • What is a space pattern?
  • What is a sound pattern?
  • What are 'abstract 'and 'figurative' sounds? How do we prompt shifts between them?
  • How are sounds mapped onto space? Can we challenge these empiricons through (re)coordinating sound / object / place?
  • How can architecture be faced with sound tools?
  • How can architectural performativity be determined by sound?
  • Within a group: how does a language made of several grammars look like?
  • When does it become a whole? How strongly can its structure develop?
  • What are the meanings and roles of the absurd?
  • Is there a performative place between life and representation?
  • What does the performative representation of the 'self' look like?