Clorofilla rappresenta la visione del mondo all'interno di una cellula... tra i cloroplasti e i mitocondri... alternata con i ritmi della natura, la crescita delle corna dei cervi, i rituali d'accoppiamento, il flickering della luce che rende possibile la fotosintesi... un tributo 'fisico' all'essenza della vita e del cinema
Clorofilla
Berlin intercetta fermoimmagini della Berlino post-contemporanea e il 'visore' liquido-metrico di una partitura audiovisiva irrelata... Sound and vision: come suoni che cadono da una parte e immagini che cadono da un'altra
Berlin
Specchio n°2 Ratio ripiegata è la sfida gettata al proprio riflesso che fugge nel tempo lungo le traiettorie eraclitee. "Nello stesso fiume scendiamo e non scendiamo, siamo e non siamo"
Specchio n°3 Ratio ripiegata
That’s a tuned-cycle droning, shimmering vision into some sort of cosmic Ur-drone, infrachromatic-row series with swooping freak out sitar. Rhythms and free-spaced modal intervals, amidst a swampy wash of rumbling low and squealing sampling... from here to bubbling atonal out-rock hesychasms splattered with 'rural-avantgarde slop'; of post-psychedelic bias, becoming gradually a post-post rock bacchanalia. Action of the sounds. Action of the words: in Joseph Beuys perspective... All slithery sputtering layers of texturing and mapping of haze, there it is the realm of warfare, drug-fuelled counterculture Baader-Meinhof-like coalescence terroristic music... Landscapes structuralist-filming e-makimono oriented just like a cinematic ribbon of ecstatic experimentation with life and conscience... colors are gluing the haptic mesmerizing perception across a cut-uped and folded-in layout within Tao flourishes sound leaking... accentuating syllables in a strange, almost dissonant musical way... silence or nembutsu-like deleuzian repetitions and differences intertwine ‘Flower silent sermon’ and deictics syntax up to molecular music. "Language lined with flesh"... Cellulas and grains beget trance superimposed frames in some transparent and translucent gassy waters: periodic waves of earthy sounds Walter de Maria’s oozed out devices and Bas Jan Ader’s falling strategies... sticking in together with La Monte Young just intonation ragas and Angus McLise percussing expanded cinema mantras. The way Costruttivism meets Concrete-Poetry and visual arrangement is the metrical formalism of stanzas and modal pedals... sounds of warfare, crowds, arcane mathematics and Chaos Theories, burials of pianos and harpsichords in Annea Lockwood chimère, but any kind of mystical seer rather a sort of Nichts engaged with language, fluttering in cadences of stuttering, glimpsing, single-framing technique... a balloon of nothing... to free butterflies like in La Monte Young sixties Compositions... celebrations and miracles...
Film-sound and image-time as a gift, as a space: Michael Snow Rameau’s architectural irony and encyclopedical puns, duchampian and naumanian post-conceptualism, Hollis Frampton’s Magellan wavering and Brakhage-like Thoreau treatise, buzzing about a civil disobedience test faded in life of plants, musk clusters and grass.
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