For Ozio I thought of an acoustic environment built on the relationship between synthetic sounds and “traditional” musical instruments such as clarinet, cello, double bass. Fragments of human voices appear as further material. Some of Ozio’s sounds are the result of journeys, paths, crossings, explorations that actually took place in the real world and in its soundscape. Others are the result of a relationship with musicians capable of producing truly special sounds for the relationship they have with their instrument (such as the double bass player Stefano Scodanibbio or the cellist Joan Jeanrenaud).
A further group of sounds is instead the result of a digital journey within thoughts and perception. Crossing territories called waveforms, sinusoids, oscillators, frequencies, pulsations, bpm with an acoustic magnifying glass. It is the combination of these analog and synthetic sounds that creates in me the emotion that underlies the work. Synthetic sounds are also used to have “subliminal” materials available. For example, very low frequencies with an almost imperceptible volume. Psychoacoustics strategies to work subtly on the passive perception of the listener. An image to get closer to the idea of the installation is that of a nocturnal forest where the sounds arrive from many points without distinction, creating an acoustic space as infinite as the territory we are crossing.