Moto Perpetuo (2009)

by 1060107

The composition was produced from the reprocessing of sounds (brass, pads, percussive sounds) by synthesis (granular, frequency modulation , subtractive) and subsequent reverberation and filtering of the sounds so obtained. The video was made entirely using 2d/3d graphic animation and digital editing. Every sounding object, every movement, every dynamic path, became visual object, lives in perfect harmony with the composition. The work was born in December 2008 This project was born from the idea that the time is a slow, fluid, changeable, inexorable circle ... Immersed in it everything is born, grows, changes and dies cyclically. This finds its clearest expression in the concrete reality in those objects called perpetual motion, small geometric shapes that intersect with each other and once activated take eternal life. The simulation of one of these objects finds a two-dimensional/three-dimensional pictorial shape and moves through the entire composition together with the tissue of sound, which ...

Full Description

The composition was produced from the reprocessing of sounds (brass, pads, percussive sounds) by synthesis (granular, frequency modulation , subtractive) and subsequent reverberation and filtering of the sounds so obtained. The video was made entirely using 2d/3d graphic animation and digital editing. Every sounding object, every movement, every dynamic path, became visual object, lives in perfect harmony with the composition. The work was born in December 2008 This project was born from the idea that the time is a slow, fluid, changeable, inexorable circle ... Immersed in it everything is born, grows, changes and dies cyclically. This finds its clearest expression in the concrete reality in those objects called perpetual motion, small geometric shapes that intersect with each other and once activated take eternal life. The simulation of one of these objects finds a two-dimensional/three-dimensional pictorial shape and moves through the entire composition together with the tissue of sound, which becomes one with it. The course evolves over four times / sections that are developed with no apparent solution of continuity. The first section (la nascita) opens softly and sees the slow revealing of the sounding object that will become the only protagonist of all the work. It appears gently and gently alludes to its own peculiar motion, supported by the action of other objects that move not rythmically to emphasize what is happening in the acoustic tissue, they appear and disappear as if to disturb the genesis of the base element polluting the atmosphere quiet and asleep. In the end even the sound will seem to give in to the arms of Morfeo, becoming empty to make way to the last bright throbs of red and metallic beams that will be the unique trait d'union between the first and second section. This new phase (la crescita) takes then life and new elements insolve in space to complete the shape of the perpetual motion and begin their dance, while some of his arms stop their motion and dissolve temporarily and then reappear and contribute to the calm swaying of the virtual pendulum. The fulcrum of the pendulum grows and dissolve, leaving the place to the other components who are object from this moment onwards of constant transformations, deformation at the increasing of sound, to become other from themselves. At the end of the section new bodies invade the dark space and radically alter the landscape and the shapes that roamed before into an immense nothing, creating so the link between the second and third section. The sound system in this part of the work (l’evoluzione) changes; the long and calm sounds mix with small rhythmic, regular, percussive and present interventions that enliven the space by emphasizing the changing of the graphic landscape. Each piece is transformed and lost, becoming liquid and invading the environment, while small groups of new objects are created and disappear to stress rhythmic tempo that flows over time. Everything fades with fluid movements leaving intact only the background of the action, which turns out to be complicit in the invisible metamorphosis of the primary element, which begins to show itself in the new shape, present, disrupted, three dimensional and intrusive; gently pierces the veil that incorporated it while leaving it intact, as butterfly is born from a chrysalis. The rhythm is lost and slowly returns to its soft and padded atmosphere and that gives serenity. The small regular objects stop for a moment and then also become liquid and give way to what is going to happen, announced by the reappearance of a metal and cumbersome object, whose shape is soft and lighting. The last phase (la morte), also marks the return to the beginning and is testimony of the completing of the circle of life. The sound object, now in its material appearance resumes its lithe and pendular trend; the background dissolves slowly and, supported by cyclical and rhythmic alternation of the metal elements, which are the only to break the restored calm, resumes its inexorable path. The small elements, that before almost disturbed the environment, slowly reappear, also changed in their essence, as if they wanted to become an integral part of the flow. Everything calms down and in silence broken only by the metallic and high sounds the last metamorphosis takes place and what it first occupied the sounding and visual space disperses in concentric and liquid spirals, leaving the place only to the last feeble throbs of a time that does not pass...

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