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Rich string work from Adriana Sa on zither & electronics, To Trips on resonator guitar, and John Klima on electric bass, following graphical scores and using electronics sparingly, in an album that is extremely focused while seeming to ramble in gorgeous ways.
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Catalog ID: SHH008
Squidco Product Code: 20398
Packaging: Cardboard sleeve with insert
Recorded at Namouche Studios, Lisbon, January 24th, 2013 by Joaquim Monte.
Adriana Sa-zither, electronics
To Trips-resonator guitar, percussion
John Klima-electric bass
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• Show Bio for Adriana Sa
"Adriana Sá is transdisciplinary artist, performer musician/ composer. Her graphical scores choreograph texture, density, dominance and sequence variations rather than clock-time or note arrangements. Designing and building the instrumentation is part of her creative process. For almost two decades, 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. Currently, Adriana develops research about audio-visual instrument design and composition. She has been clarifying artistic insights with the aid of cognition/ attention research, and developing 3D audio-visual software that operates based on pitch detection from a custom zither input.
Adriana Sá has been developing and presenting her work around Europe, USA and Japan since 1997. She has consistently developed a number of project-series dedicated to specific artistic investigations: 'Sensations Laboratories', 'Interchange Formats', 'This Is Just To Do', 'Parallax', 'Metaparallax', 'Portablellax', 'Moment In Movement', 'Thresholds', 'Windowmatter' and 'Emotional Object'. In these and other contexts, she has collaborated with hundreds of artists. Currently she is developing two parallel projects: 'Included Middle', with John Klima, and 'Timespine', with John Klima and To Trips.
Throughout the years, Adriana work has been presented worldwide, in venues like Calouste Gulbenkian Foundation, Culturgest, Serralves, Teatro Maria Matos or Museu do Chiado in Portugal; Experimental Intermedia Foundation, PS1/ MoMa or Eyebeam in the US; Caixa Forum or Arteleku in Spain; ICA - Institute of Contemporary Arts, The Media Centre Huddersfield or Sonic Arts Research Centre in the UK; and ACAC - Aomori Contemporary Art Center in Japan. She also presented site-specific work in a codfish-drying factory or a chapel, in Portugal, or an active a textile mill in the UK. She performed and exhibited in festivals such as LEM (Spain), Ultrasound (UK), Atlantic Waves (UK), Luzboa Biannual (Portugal), xxxxx (UK), Sonorities (Irland), NIME - New Interfaces for Musical Expression (US) or Version Beta (Switzerland).
Adriana´s artistic work has been made possible through grants, funding supports and commissions, by institutions such as Calouste Gulbenkian Foundation (PT), Cultural Ministry (PT), Serralves (PT), Aomori Contemporary Art Centre (JP), Kirkless Media Center Huddersfield (UK), T-U-B-E (GR), European CoDaCo Fund (EU), FLAD- Portuguese-American Foundation (US/PT), Kampnagel (GR) and Instituto Camões (PT).
Adriana's artistic practice fluidly expanded her early education in music (Mendelsohn Hochshule fuer Musik. Leipzig, GDR), visual arts (Atelier Livre, António Arroio School, Fine Arts University, Lisbon, PT) and hypermedia design (Teacher Formation Course in Graphic Design for Hypermedia Systems, CNS, Lisbon). Her practice has been furthered with workshops (e.g. at AA- Architechtural Association (UK) or FEUP - Engineering Faculty/ Porto University (PT), communications, texts and audio-CDs. She had a positon as assistent professor at ESAD / Polytechnic Institute Leiria (PT), from 2009 to 2011. In 2011- 16 she was a researcher at Goldsmiths University of London, EAVI research group, Department of Arts and Computing (UK), with a grant by FCT-Foundation for Science and Technology. She is currently a professor at Coimbra University, in the departments of Computing and Arquitecture. Her scientific articles have been published with ICLI 2012, Leonardo Almanac, Leonardo Transactions, XCoAX 2014 and 2017, NIME 2014, and Journal Of Science And Technology Of The Arts."-Adriana Sa Website (http://adrianasa.planetaclix.pt/bios/bioresumeeA4.htm)
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• Show Bio for John Klima
"John Klima employs a variety of technologies to produce artwork with hand-built electronics, and computer hardware and software. Consistently connecting the virtual to the real, Klima builds large scale electro-mechanical installations driven by 3D game software he programs from scratch. The virtual computer imagery mirrors and extends the potential and agency of the physical components to produce cohesive worlds that are both humorous and sinister. In 2003 he focused on his long-time fascination with model railroading to create his first HO scale railroad piece, titled simply Train. Exhibited in December 2003 at Postmasters Gallery in New York, Train was shown in April 2005 at the DeCordova Museum in Boston, and in September became part of the permanent collection of the Museo Extremeño e Iberoamericano de Arte Contemporáneo in Badajoz, Spain. Klima has exhibited extensively in museums and galleries in the United States, Europe, and Asia. His exhibitions include BitStreams at the Whitney Museum of American Art as well as the 2002 Whitney Biennial. He has also exhibited at Eyebeam, The New Museum of Contemporary Art, PS.1 and The Brooklyn Museum of Art. His international exhibitions include The Museum for Communication in Bern, Switzerland, the NTT InterCommunication Center in Tokyo, Japan, The Daejeon Municipal Museum in Korea, and numerous international festivals. Selections from his bibliography include the New York Times, The New Yorker, Art Forum, Flash Art, and Business Week. Klima was recently a research scientist at the Courant Institute, New York University, and is currently adjunct Professor of Digital Media at the Rhode Island School of Design. Klima also teaches an extensive course in game design theory and production at the Polytechnic University of Brooklyn. John Klima is represented by Postmasters in New York, Bank Gallery in Los Angeles, and Gallery of International Media Art, Berlin, Germany."
Click here to see John Klima's CV.-CityArts.com (http://www.cityarts.com/bio.html) ^ Hide Bio for John Klima
^ Hide Bio for John Klima
1. Interlace / Detail 11:46
2. Hold Breath 2:04
3. Clocking Blues 5:34
4. Sustained Variations / Continuity 9:10
5. Blistering Cowboy / Excite 11:11
6. Renee and the Cartesians / Hungarian Folk 6:47
7. Swimming 6:36
sample the album:
"This music does not fit under the umbrella of any musical genre. It would be a folk song if folk was a stream of consciousness. Add to that certain connotations of contemporary classical formats, and then subtract the mathematics, while also injecting a certain loose balance so characteristic of free improvised music.
Yet again it's just a distant impression, because they use graphical scores. This idiomatic singularity results from the gathering of musicians with different languages. Adriana Sa comes from experimental music and visual arts, having created and performed with custom instruments combining acoustic elements, software and sensor technologies. To Trips is a blues inspired guitarist, the co-founder of the unique and puzzling country-fado-jazz-rock band Dead Combo; and John Klima was a member of the pop group who became The Presidents of the United States of America, many years before their MTV days.
String instruments are at the core of Timespine - a zither, a dobro,and a bass guitar. There are also occasional live sampling and percussion elements. But they service the flow of combining strummed, plucked, percussed, and bowed strings, all tuned unconventionally, at some moments acting like inconsistent drops of rain and at others suggesting the resultant turbulence of three rivers meeting. The river-meeting-music flows soft and slow, and abstract and in a non-linear way, becoming hypnotic and suspending time.
This is a music without metrics, and without a clock - only human biological tempos are followed. The end result is a music that simply sounds great, as if Morton Feldman had a Portuguese guitar rather than a piano as the basis of his creativity."-Shhpuma
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