I'm Veronica Eva Oppes from Sardegna.

I am a sound and visual artist, interested in the connection between different artistic languages. 

I am currently captured by aspects of sound as it travels through the world as an entity, and as it is perceived by human beings physically, emotionally and philosophically.

My research points are:

- Sound and visual aesthetics

-Research into psychoacoustic phenomena,
light and visual phenomena and their artistic use
- live electronics
- the spatialisation of sound
- relationship between mathematics, music and magic.....
(we can call it Mathemusic and Mathemagic
.... but don't worry! by magic I mean the wonderful science of electronics!)

We know that there are rules that a visual artist or a sound technician must respect in order to prepare a product and satisfy the usual standard of perception of music and visuals. My job is to get out of these canons but with style, the trick is to work hard for achieve a very deeply knowledge of fundamentals and then trying to think differently through the eyes/ears of a different artistic language or tool/music instrument. For instance, there are some specific parameters according to which to calibrate an equalization of the sound when we recorded a signal, but the art of equalization is like sculpting the wave, equalizing is like modeling something. Why limit yourself to being a regular sound engineer when you can think as a sound wave sculptor?
I always say that the sound artist is someone who plays on the tight line that separates the original from the ridiculous. It is a very tight line and and you can be able to see when and where you can go further and be original.

So, another important thing for me, is the management of limits. The limits are often only in our mind, sometimes we just have to identify them, it is not easy to know that there are, that are habits. Like when we don't listen to the sounds around us because they all end up in the background, it is a human capacity that allows us to survive but also makes us less sensitive. Listening to the soundscape is being aware that we do not necessarily have to stand still on the concept of music offered only by the sounds of instruments determined and established for centuries. Because of this unawareness we have changed the soundscape of the world, polluting it, often making it unlivable for ourselves, as when during the industrial revolution, the machines were designed without considering their impact on the workers, at that moment it was better acquired awareness of noise pollution. Even animals, which have a finer hearing, have suffered the consequences. And of course, we could talk in the same way about our visual sensitivity.

Thus, listening and recording the soundscape, of any nature, a forest or the fish market, becomes an interesting resource. The electronic instruments of our era are our magic wand to shape these sounds and the sounds of the instruments, the practice of live electronics, allows us to do it in real time and to have greater sensitivity for the space and atmosphere where the performance takes place with the people who listen.This is the possibility of creating something always new, this is taking care of the detail of spaces and people, who are always different for each concert or exhibition. Are not the space and the public a very relevant part? (So ​​we need to know that there is not only the possibility of writing a performance that is always the same for every different occasion.)

Space is the home of sound, because sound spreads through it.
My concept of sound theater works on spatialisation with the diffusion of sounds not only to the right and left, in our habitual stereo vision. we can use 4, 5 or 6 or 8 speakers, control them individually to give further movement to the sound. Think of being in the center of 4 speakers and hearing the music moving through them, instead of sitting and listening to a sound that constantly originates from the same space. The possibility of sound theater is a new experience.

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