Tinnitus
- 2022
- by Gaetano Palermo
- with Michele Petrosino
- sound design Luca Gallio
- 70'
No one could guess how old was the boy neither the reason of his death
A. Anedda
Tinnitus is a portrayal of a tension towards the unheard and the inaudible, an investigation on the thrownness of the human condition into the realm of existence, a rupture of linear temporality, a disruption of any idea of salvation and a suspension of the gradient of reality that questions the surrounding by provoking a cut with the present, just by deserting it.
An abandoned body lays on the ground and there is nothing to know for us. Only a high-pitched sound – like a whistle – is related to it. In the long stasis of such absolute presence, the flow of existence is marked by performing the negation of itself. The spectator is supposed to stumble into it: into a vision of a mortal proximity that affects him/her and that through inaction highlights his/her role as acting subject. Suddenly, however, something happens. The insistent whistle turns into the echo of a song and a sparkle of life insinuates the lying body. In the body the blood starts to flow again till gushing from his mouth: not a witness of death, but a sign of life. The body, redivivus, then vanishes, leaving behind only a few red stains and some clothes, from which the whistle continues uncompromisingly to resound. An inorganic presidium of an elusive and acousmatic energy that penetrates the flesh of those present even after the body has departed and disappeared.
No one could guess how old was the boy neither the reason of his death
A. Anedda
Tinnitus is a portrayal of a tension towards the unheard and the inaudible, an investigation on the thrownness of the human condition into the realm of existence, a rupture of linear temporality, a disruption of any idea of salvation and a suspension of the gradient of reality that questions the surrounding by provoking a cut with the present, just by deserting it.
An abandoned body lays on the ground and there is nothing to know for us. Only a high-pitched sound – like a whistle – is related to it. In the long stasis of such absolute presence, the flow of existence is marked by performing the negation of itself. The spectator is supposed to stumble into it: into a vision of a mortal proximity that affects him/her and that through inaction highlights his/her role as acting subject. Suddenly, however, something happens. The insistent whistle turns into the echo of a song and a sparkle of life insinuates the lying body. In the body the blood starts to flow again till gushing from his mouth: not a witness of death, but a sign of life. The body, redivivus, then vanishes, leaving behind only a few red stains and some clothes, from which the whistle continues uncompromisingly to resound. An inorganic presidium of an elusive and acousmatic energy that penetrates the flesh of those present even after the body has departed and disappeared.