work
ALLEGORY OF THE CAVE
| category | Performance |
| subject | Abstract, Political / Social |
| tags | Landscape, Voice, sound art, impromptu choir, Site-specific, interactive |
| hours | 1 |
| minutes | 0 |
| seconds | 0 |
| year | 2017 |
Interactive impromptu choir performance.
In an era of projected forms and two-dimensional silhouettes, the parallelism with the Platonic myth of the cave can be banal.
Observing ourselves we see semi-blind beings chained in the dark, their eyes fixed on empty projections on a black mirror that does not reflect the viewer.
What I believe may be revolutionary in the myth of the cave today is to subvert the ending.
"Allegory of the cave" represents the beginning of that unpublished ending.
It is a collective procession inside a cave (or an enclosed environment) immersed in semi-darkness. The word is not used which is instead replaced by the living silence of the place, by sounds and noises, and then by the voices of those present, who are guided on a sound journey in which hearing is the element of contact and observation.
The subtle listening capacity, rediscovered and sharpened, leads those present to an interconnection of community that is unprecedented in our daily self-isolation.
A sort of exodus with liturgical features, in which individual silence becomes collective listening and gradually turns into song, in harmony, like a wave made up of small drops that cannot help but join together to follow a current.
The "allegory of the cave" performance really begins at the end of the performative act: the action wants to be the expedient to sow an internal germ in each present. This germ of rebellious curiosity that pushes the face to turn towards the “outside”, towards the light, turning its back to the screen, can and must be transmitted upon returning to one's own “cave”.
A virtuous contagion is possible to the extent that it is truly pursued.
The voice recordings are the original ones taken during some of the interactive performances (the audience was around 60 people).
It is recommended to use headphones for a more immersive listening.
In an era of projected forms and two-dimensional silhouettes, the parallelism with the Platonic myth of the cave can be banal.
Observing ourselves we see semi-blind beings chained in the dark, their eyes fixed on empty projections on a black mirror that does not reflect the viewer.
What I believe may be revolutionary in the myth of the cave today is to subvert the ending.
"Allegory of the cave" represents the beginning of that unpublished ending.
It is a collective procession inside a cave (or an enclosed environment) immersed in semi-darkness. The word is not used which is instead replaced by the living silence of the place, by sounds and noises, and then by the voices of those present, who are guided on a sound journey in which hearing is the element of contact and observation.
The subtle listening capacity, rediscovered and sharpened, leads those present to an interconnection of community that is unprecedented in our daily self-isolation.
A sort of exodus with liturgical features, in which individual silence becomes collective listening and gradually turns into song, in harmony, like a wave made up of small drops that cannot help but join together to follow a current.
The "allegory of the cave" performance really begins at the end of the performative act: the action wants to be the expedient to sow an internal germ in each present. This germ of rebellious curiosity that pushes the face to turn towards the “outside”, towards the light, turning its back to the screen, can and must be transmitted upon returning to one's own “cave”.
A virtuous contagion is possible to the extent that it is truly pursued.
The voice recordings are the original ones taken during some of the interactive performances (the audience was around 60 people).
It is recommended to use headphones for a more immersive listening.
