Meow everyone! 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:
- live electronics
- the spatialisation of sound
- relationship between mathematics, music and magic.....

.... but don't worry! by magic I mean the science of electronics and I will try to explain why in a nutshell, for now.
We can call this mathemusic or mathemagic philosophy.

To be honest, having skills as a sound engineer is essential, because if you want to sin with more taste, we must know what we are talking about, and then make an artistic use of it.

"sinning with more taste" do you know what it means? it's an Italian way of saying, the meaning of the whole sentence is that to go beyond the rules with style, you have to know the rules first. But I wanted to use the term "sin" because it sounds more diabolical

We know that there are rules that a sound technician must respect in order to sell the product and satisfy the usual standard of perception of music. Certain parameters according to which to calibrate an equalization. My job is to get out of these canons but with style, the trick is to have a vision of the art of equalization as a sculptor, you know, equalizing is like modeling something.
I always say that the sound artist is someone who plays on the fine line that separates the original from the ridiculous. it is a very fine line.

So another important thing for a sound artist, or 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.

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. it is the possibility of creating something always new, it is taking care of the detail of spaces and people, who are always different for each concert. 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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