Di Pietro

Milano, 1987

NEW VOID - The Books | 2013

NEW VOID - The Books, 2013
(80g paper)
Foto: PH: Alessandro Di Pietro
Courtesy: CNEAI ( centre national ├ędition art image )

The two volumes of the project New Void are a gamble. 

They are a promise of a profanation carried out by the body to the film, during the articulating performing action. 

This operation is not based on any appropriation of someone else's work, but it's an attempt to start from a specific and recently produced movie, which the director Gaspar Noé reelaborates in the Film Enter the Void (2009), creating images according to precise aesthetic choices regarding the relationship between direction in digital creation and the technique which is being developed. 

The almost manneristic use of a camera with a subjective point of view allows the audience, in this movie more than ever, to go through the physical experience of the body through various phases of perception on the part of the main character: Oscar. 

First, awareness; second, distortion under the effect of artificial additives; third, his soul flying among the architectures of a nighttime, psychedelic and stroboscopic Tokyo; fourth, the soul's memory of a near and remote past mixed up in an unperceptive historical fluid; and finally fifth, of reincarnation and a new rebirth. 

Experiencing Oscar's eyelids and back of the neck has been so effective in shortening the distance between me and the character that I forgot about him and started to follow the timing, the rhythm and the intensity of his physical life, pushing the plot itself into a subordinate role. 

The energy of this project rises from the wish to get even closer; here is whence originates the need to give a structural order to the re-reading of the movie, by means of a likewise already tested technical choice: scanning the images while, in this case, engaging with movement and with a new surface, the monitor, which becomes accordingly the matter of the movie. 

The major performance factor of this project lies in the action of articulating repeatedly, from left to right, till the monitor's side (as in reading a Western book), by means of a mobile scanner Easypix, 21 cm high, on the surface of my MacBook pro 15,4'', which triggers weird circuits. 

Time and movement in the images of Gaspar Noè's movie seem to be irreconcilable, when correlated to my arm's time and movement. 

The 845 images so created are distorted images where the naturalistic detail is granted only when Oscar's point of view is slow, relaxed and reflective. Otherwise, on the surface of these “new frames” there carelessly stand out frenzied vertical stripes. 

Here, the intensity of the film digital colour de-saturates, possibly because of a conflict between the monitor's RGB frequencies and the cold frequencies of the scanner's lamp, which change to monochromatic black-green, black-yellow, black-magenta. 

It seems that a certain kind of synhtesis has emerged notwithstanding the images' incomplete actual readability: in these two books I'll magnify these new frames as further reproductions in enlarged scale to allow for a material analysis of the frame. 

The New Frames could reincarnate into a new movie, just like Oscar. 

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