Là… Qui is the need to give a voice to L’Aquila in terms of life, life preserved in the stones, in the streets, in places, in the words dedicated to her in time, where there has always been, motionless but alive. What has changed over time is only the ability to listen. The interactive interface is, in fact, used to amplify the ability to listen to both the city and the resonances of the actions taken against him.
The interface is a “sensitive node” of a landscape “apparently” dead.
Two dancers move on this floor in an imaginary dialogue, a counterpoint to the voice of L’Aquila: moments in which seems to prevail the action of man on the place and times when the place seems to affect humans, will find their synthesis in a bond inextricably dependent, where the discovery of a deep interaction makes the man responsible for every, even seemingly insignificant action.
And memory, in this context, appears to be responsible action on this, in light of past and possible future. Commemoration understood, creatively, as “with mindful action,” action that keeps the memory of what happened to make man the creator in knowing how to guard rather than destroy, listening and paying attention.
The composer and media interactive designer conducts a search for “ethics” on the technology so that it can be an enhancement of the human senses, so that technology can become humanity.
The research on the sounds is not intended to create from scratch but to seek finely into what already exists new sonic possibilities. Each sound contains countless other sounds.