C.A.L.M.A

My name is Raffa Gomes, a visual artist trained in visual arts, emphasizing engraving, painting, and sculpture from the Centro Universitário Belas Artes de São Paulo.

My production and research are developed around listening in the expanded field of human perception, investigating whether there is materiality in the sound memories that the body retains, expanding the perception of sound to a political dimension that evokes a consciousness of listening. I consider sound perception beyond the ears, and my works call for physical interaction, touch, skin sensitization, and reflection for conscious enjoyment of sound, the recognition of everything it affects, and its implications for social models.

I see the Masters in Sound Art promoted by the University of Barcelona as an essential step in my artistic development and research as a whole. In recent years, research has grown, unfolding in several ways.

I understood that at this moment, it would be ideal for directing and amplifying the studies in the master's degree, deepening some aspects to expand my knowledge. 
 Suppose at one end, the sound carries the record of the music that invites us to perceive rhythm, cadence, melody, harmony, etc., at the other end. In that case, there is the body in contact with characteristics of the sound, which in my question leave tactile memory records. If air is matter, does the sound that flows through this matter when it touches us leave records? How to retrieve these records? I pursue ways to elucidate them and bring them to consciousness by broadening how we relate to them.

It motivates me to think of the vinyl record as a solid that has stored sound material. At one point, humanity developed this way of "saving" sound in solids and later rescuing them. Our bodies are in constant contact with sounds from different sources throughout our lives. Both the ear and the skin and the internal organs that receive these sound stimuli are affected daily. I believe that intending to understand listening can contribute to fostering discussions about the sound matter and poetically generate aesthetic experiences in the ways we relate to sound.

Crowdfunding is a way to enable the continuity of these studies, deepening theoretical and practical issues in the arts that help me in the development of research and providing subsidies for the production of my works!