The idea comes from the hypnotic observation of a wax lamp, the perpetual movement of the bubbles, the "life" tha semms to take precedence over naturally inanimate bodies and the feeling of growth, constant and relentless change that accompanies this object so dear to 70s. From these premises the creation of a work that develops intp fpur sections, each of wich presents its own "peculiar motion", which is given a title that hides in itself a precise meaning. The first section, "Pulsazioni" presents a regular and geometrically decided rhythmic pattern, but soft (we are always speaking of "fluid bodies") made of “iridescent spheroids” whose colours are perfectly associated with heights of each sound, so that equal height means equal colour. They are overlapped by a "circle of light", gray, perennial, almost distressing in its obsession, in which, shortly afterward, a circular bright area, vibrant and full, creeps "polluting" what is happening in the "framework" yet not allowing the total denial. The two elements, alternating rhythmically regular end up taking the upper hand on everything, dissolving slowly until absolute darkness. The second movement, "Danza di cera" represents the translation of what happens in the lamp that has given the startup to the composition. A red fluid and irregular, almost blood, develops rhythmically releasing bubbles that "dance", joining and separating, creating always new and different forms, following every musical accent. Gradually other bodies are added to the first one, other bubbles and other movements that alter and enrich all in a geometrically symmetrical picture made up of elements with separate lives and always different, but inextricably linked to each other, until the rhythm dissolve, wax changes, loose its colour, merges with everything and disappears into the “nothing” from which it had appeared. The third section, "Scie", tells of a distant planet, dark fluids which slowly transform and move almost imperceptibly, accompanied by circular shapes, bright and mobile that leave long, fluid wakes of gold to their passage. Elements dynamic and rhythmically regular "contaminate" the stillness of the entire landscape with varying trajectories, growing and decreasing regularly, but then leave, becoming smaller, to restore an absolute calm to the desolate landscape. The fourth and final step "Gocce d’anima" is the emblem of "the return to absolute", the calm, hypnotic observing these transparent bubbles that "dance" in the background black, empty, firm. Their languid motion permeates of colours which, from the inside, symbolize the "fullness in emptiness" and chromatically change the status of cyclical repetition of the rhythmic / melodic movement. Upon these subtle elements harsh, distorted and sharp make their entry into small, short appearances that slowly follow the dissolving of the "way to the intimate recesses of the soul" and take the upper hand at the end becoming the only players which bring back, again, to the absolute nothing, black, immobile, infinite.