Publicações
Capítulo | Transforming Performance with HASGS: Research-led Artistic Practice with an Augmented Instrument
Henrique Portovedo, investigador integrado do INET-md e coordenador do seu grupo de investigação dedicado à Criação, Performance e Investigação Artística, é autor, juntamente de Ângelo Martingo, de um dos capítulos do livro Innovation in Music: Technology and Creativity (Routledge, 2024), co-editado por Jan-Olof Gullö, Russ Hepworth-Sawyer, Justin Paterson, Rob Toulson e Mark Marrington.
O capítulo intitula-se "Transforming Performance with HASGS: Research-led Artistic Practice with an Augmented Instrument" e analisa o desenvolvimento e as possibilidades técnicas do Hybrid Augmented Saxophone of Gestural Symbioses (HASGS) como estudo de caso, explorando a otimização dos instrumentos aumentados e o papel da investigação na transformação da performance.
Resumo (apenas em inglês)
Drawing on the development and technical possibilities of Hybrid Augmented Saxophone of Gestural Symbioses (HASGS) as a case study, this chapter aims to discuss the optimisation of augment instruments and the role of research on the transformation of performance. HASGS, as shown in https://www.henriqueportovedo.com/hasgs/, was developed as an academic project aimed at enhancing performance by electronically controlling parameters in mixed music performed in the mechanical instrument, thus reducing the recourse to external control devices for electronic purposes. After three preliminary prototypes, the current system is constituted by an ESP32 card, providing Bluetooth and wifi connectivity, while based on a digital fabrication solution that can be directly integrated into the instrument’s body, thus transforming the saxophone into a hybrid instrument – both an acoustic instrument and an electronic controller. The remaining components of HASGS include a ribbon sensor, a four button keypad, a trigger button, two pressure sensors, up and down selectors, and an accelerometer. In the context of a performance practice in which the interpreter is required to be a creative agent within a multidimensional context of sonic manipulation, improvisation and expressive extension and augmentation, HASGS can be seen both as contributing to the optimisation of this new virtuosity, and as a result of the changing role of academic and musical research in the transformation of artistic practice, as illustrated in the detailed description of the recent piece Study 1B.
