PARALLAX # 3.5., Festival Nouvellum, Toulouse, 2003.
PARALLAX # 3.5., Festival Nouvellum, Toulouse, 2003.

Fellowship awarded to Adriana Sá for the project Laboratório de Sensações 3
Jury: Phil Niblock, Rui Eduardo Paes, Emanuel Dimas Pimenta, Jens Brand, Delfim Sardo and Isabel Alves

Laboratório de Sensações

The performer stands inside a black fabric cube, in the middle of the room and audience; six speakers create a powerful and immersive sounorous physicality. In the pitch-dark space her silhouette occasionally appears in stroboscopic flashes. Trough light sensors this flashes and a neon lamp model the sound emitted by a portable computer and an audio generator. The profusion of sensorial stimuli competes with the linearity of a discourse on art. Technically, the spectator would be able to understand every word, but the density of sensations doesn't allow a continued awareness. One ends up imagining and taking what was imagined for what was said. And one doubts. And one accepts that we can only understand things through breaches in reality.


Adriana Sá (Lisbon, 1972) is a transdisciplinary artist, performer and musician/composer. After studying Music and Fine Arts in 1995, she started using sensors to explore music connected to light, architecture, movement, meteorology and 3D software. In her course she has developed an instrumentation of her own, which combines acoustic, digital and analog elements, some of which of architectural scale.
Since 1998, her work has been presented at Teatro Rivoli, Calouste Gulbenkian Foundation, Culturgest and Serralves, in Portugal; at Eyebeam, Experimental Intermedia Foundation and PS1/MoMa, in the United States; Arteleku in Spain; Institute of Contemporary Arts, in the United Kingdom and at Aomori Contemporary Art Center, in Japan.
In 2005 she completes a practical-theoretical PhD in Arts and Computational Technologies at Goldsmiths University, London.
She is the author of scientific publications where she approaches the artistic experience recurring to neurology and experimental psychology, of which is an example the article "How an Audio-Visual Instrument Can Foster the Sonic Experience", published by the MIT in 2003.