"Intervallo" is movie conceived as a visual representation of the sound construction principles used in the "intermezzo" track, so is a way to reflect about the relation between images and sound.

There's two principal approaches to cinema depending on the assumption about what is a movie. One approach is what could be defined as "shot theatre" given that the main concern is the arrangement of charachters during the development of a story in the attempt to express his meaning through words. The other is what could be defined as "picture in movement" from the realization that what is physically recorded are is a sequence of 24 pictures (called frames) per second whose flow gives the illusion that something is moving. From this perspective the meaning is obtained from the visual changes of something through time so reflecting an esthetic position stating that the meaning of music derives from the sonic development through time.

Even if the result could be abstract, image, as sound, is not something ephemeral since the film frame transforms what is intended to be seen, or projected, in a physical object that lasts and can be manipulated. So, time acts as an agent of decontextualisation of the recorded subject and as the frame containing the elaborated object. The decontextualisation entails that Words became the punctuation in the overall grammar, as its role became of connection, or support to the elements, if necessary.

As "cinema show" is a record based upon the relation between images and sound, his corollary is a movie about the same concepts. So "Intervallo" is a visual representation of the sound construction principles used in the this release, so his name is the italian translation of the title of the musical piece used as a sound track. The subject of the movie is the object of film editing, the film stock, and his result, the projected sequence. The film stock was shot using various lens and optical filters as a metaphor for sound processing while the film samples are unaltered, as related to field recordings, since the editing is on the recorded object and not on the subject itself. The sense of displayed words is left to the spectator as the realization that both the film stock and the interval are gradually disappearing from cinema.


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