Work (Photography) « Patrícia Sucena de Almeida

Work (Photography)

CD “O Espaço da Sombra” (The Space of Shadow) | Hugo Vasco Reis “Um trabalho dedicado à guitarra portuguesa como instrumento solista na música contemporânea.”

Colaboração | Capa CD/Photography: P.S.Al.

Winners of Research and Enterprise Academics
were recognised in the Images of Research and Enterprise Showcase competitions

Performances of Patrícia Sucena de Almeida, Desperatio (Piano Piece No. 5)
Ian Pace, SASS
Desperatio (Piano Piece No. 5), for pianist with accompanying film, was written as part of a collection of short new piano pieces to celebrate Ian Pace’s 50th birthday, extending a thirteen-year collaboration between Pace and composer/photographic artist Patrícia Sucena de Almeida. It features a film together combined with piano writing exploring gesture as well as sound, involving the pianist making exaggerated hand gestures for some of the sounds, to be contrasted with more regular approaches to the instrument, as a form of experimental music-theatre building upon Ian Pace’s own distinctive choreographic approach to the piano.


Photography for:



Photography Series for TEMPO, a Quarterly Review of New Music Volume 71 – Issue 282 – October 2017
Title: Clausum Series (7 Photographs)
©Patrícia Sucena de Almeida Transversal Multi Art
Cambridge University Press journals https\://

“TEMPO exists to document the international new music scene while contributing to, and stimulating, current debates therein. Its emphasis is on musical developments in our own century, as well as on music that came to prominence in the later twentieth century that has not yet received the attention it deserves. The articles and reviews cover the new music scene in all its complexity, featuring discussions of compositional trends, performance practices, listening practices, new music contexts and reception histories. TEMPO is sympathetic both to writing about new forms of creative practice (electronic, interdisciplinary, performance-based) and to writing that employs innovative methods of enquiry that differ from the aims of traditional musicology.” Editor: Professor Christopher Fox


Photography work based on Chapter No. 6 from The History of Photography in Sound | Michael Finnissy

book/box collaboration (conception) Jorge Simões – | Maria Ferreira – Chronospaper Jorge Simões; Daniel Antero; Chronospaper- restauro de livros e encadernação


Continuum Simulacrum








Notes on Continuum Simulacrum

Pour moi, le bruit du Temps d’est pas triste: j’aime les cloches, les horloges, les montres – et je me rappelle qu’à l’origine, le materiel photographique relevait des techniques de l’ébénisterie et de la mécanique de precision: les appareils, au fond, étaient des horloges à voir, et peut-être en moi, quelqu’un de très ancient entend encore dans l’appareil photographique le bruit vivant du bois.’

For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.’

Roland Barthes, La chambre claire: Note sur la photographie /Camera Lucida: Reflections on Photography (translated Richard Howard).

Ian Pace, knowing my work as a photographer, proposed to develop a project relating to Michael Finnissy’s The History of Photography in Sound and I decided to focus in particularly on Chapter No. 6 (Seventeen Immortal Homosexual Poets), the first to be completed by the composer.

The resulting work is a book-box including 29 A5 printed photographs, which almost fit in ones’ hands, entitled continuum simulacrum (a continuous collection of images/spectrum(s)), which has been ‘composed’ like a new musical work with a series of ‘sounding images’ organised in multiple parts (similarly to the HoPiS episodes relating to the poets) and connected by three quotations from Barthes’s La chambre claire (1980), offering a space for reflection. A fourth one is printed directly inside on the left side of the book-box. The ‘created object’ can be considered as an ‘open work’ and maybe the first step which will continue with works relating to the other Chapters; or alternatively as a frozen memory. The five samples available are to be manipulated by the audience, as a personal object, and placed on some of the seats (performance space). After this concert part, which includes Chapters 5, 6, 7: Alkan-Paganini; Seventeen Immortal Homosexual Poets; Eadweard Muybridge-Edvard Munch, the ‘personal objects’ must be placed on another chair by the audience members who had them in their possession. A slideshow including some of the photographs (main series) plus quotations is also shown in a small screen, outside the performance space.


Collaborators on continuum simulacrum: Jorge Simões (; Maria Ferreira (Chronospaper); Film (slideshow): Daniel Antero.


Friday January 20th, 2017

10:00-11:00 – Christopher Fox in conversation with Michael Finnissy on The History of Photography in Sound.

11:30-12:30 – Keynote: Gregory Woods: ‘My “personal themes”?!: Finnissy’s Seventeen Homosexual Poets and the Material World’

14:00-21:00 – Concert 3: Michael Finnissy: The Piano Music (11): The History of Photography in Sound, played by Ian Pace

14:00 – Chapters 1, 2: Le démon de l’analogie; Le réveil de l’intraitable realité
15:15 – Chapters 3, 4: North American Spirituals; My parents’ generation thought War meant something
16:35 -Chapters 5, 6, 7: Alkan-Paganini; Seventeen Immortal Homosexual Poets; Eadweard Muybridge-Edvard Munch
18:10 – Chapter 8: Kapitalistische Realisme (mit Sizilianische Männerakte und Bachsche Nachdichtungen)
19:35 – Chapters 9, 10, 11: Wachtend op de volgende uitbarsting van repressie en censuur; Unsere Afrikareise; Etched Bright with Sunlight








©Patrícia Sucena de Almeida (Photography)

©Daniel Antero (Film: slideshow)

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