The Latin roots that Spanish and Italian share, can plot interpretative bridges, but at the same time, talking becomes a symbolic periplus, where new gestures and forms of intertwining ideas are sought and, contrary to what one might think, trigger a unique bond among people, since the mutual effort and the theatrical communication bring a kind of magic to the communicational process. “Ginestra”, like the flower that gives it its name is full of open, radiant and friendly persons, obviously curious to a strange person walking with a handheld recorder, but never absent when it comes to give a greeting, shaping a smile or expressing cordiality.
Beyond feeling otherness or certain alienation produced by entering a village with a language one does not handle at all, interaction gradually weaves a wonderful experience where the listener operates beyond semantics, looking at form and structure in other ways, also interlaced with the visuals. Listening gets expressed on its highest multi-sensory levels; the senses get prepared to listen, reading lips, interpreting eye movements and letting the imagination to fly, contemplating how words become silhouettes that sometimes do not say what they should and instead speak of fanciful realms, worlds that could exist only in one’s aural inventiveness, but actually get merged with what’s supposed to be real, altering the walking itself, the perception of space and history. It allows an inter-subjective living myth which develops aa a parallel universe made of pure poetry made of eloquent silences and furtive meanings. Between yesterday and today I have been able to exchange a few words with the locals, trying to find ways to get progressively closer, creating shared dreams among the stories which collapse between both abstract and allegorical exchanges which become as diffuse as lucid when the conversation enters into an unknown dimension of meaning. Because of not having many words to convey what is sought, listening allows a debugging experience of language itself, back to basics, creating the paradoxical situation of feeling too much, but not being able to put at least a bit in words. But there’s where a non-cochlear listening becomes useful, as it allows to furrow around mute conversations, blowing ideas without perturbing the acoustic, connecting hearts beyond any sign.
Today the wind was still reverberating everywhere, both with a sinister and attractive tint. It is a constant of the territory that is reflected in the fact that this whole area is one of the largest wind farms in Europe. Therefore, in the afternoon, after traveling time a little by listening and composing with yesterday’s recording material, I went into the mission I found the previous day: start looking for interesting spaces to explore the wind, which, as I have reaffirmed today, is one of the most fascinating elements of this territory and where I think there are many issues to investigate, perhaps due to many factors, including that it affects everything without distinguishing material and psychic aspects, hence triggering physical changed but also emotional traces, whistling the supernatural, provoking animals and producing aural myth. Here the wind takes many colors and shapes due to its variable speed and the types of materials and situations of interaction. In addition, there is a strong relationship between air and sound as interdependent elements that enhances the idea of a “Ethereal Fortore”, where listening serves as a possibility of an integral consciousness that does not separate the concrete from the imaginary and allows access them as one, non-dual demonstration of unified field. Wind is special for this because one never perceives it directly at all, but when it alters what we can touch, see, hear, etc. Its invisible texture, its both ethereal and aereal ubiquity and the way it interacts with different contexts, spaces, times of day and imaginary forms, generate endless questions about the possibility of a sonic quintessence which can serve as a primary substance that doesn’t inhabits spaces, but designs them.
Exploring the wind becomes an exploration of everything and listening is revealed as a way of breathing. Trees, grasslands, metals or walls, all have their own ways of playing along the wind. However, I was really intrigued with the high mountain areas, where houses dwindle and, among the yellowed crops, some wind turbines can be seen, creating a perfect scenario to think rural futurism. The cosmological dynamics of these devices is fascinating, given that they convert energies in a chain of kinetic, mechanical and electrical forces, but not only that: they are also engines of sonic energy. After walking for about 40 minutes, I managed to climb one of the mountain peaks to see one of these giant machines more closely. Sitting down and listening in there allowed me to appreciate the faint scenery of Ginestra degli Schiavoni in the distance as bulging echoes of an unknown land, but still the sound of the wind was not protagonist. I decided to walk higher until the town was no longer present and I can finally appreciate the fascinating oscillation of this energy transformer closely, along with other wind turbines which are placed nearby. Its sound immediately recreates a ghost plane, like a turbine that is lost in time, but with prolonged listening, an unmatched acousmatic meditation arises, where one can feel the wind in multiple colors, as mandalas over ethereal surfaces, beyond the aeolian, mechanic and electric, and deep into the sonic as such. In addition, to walk around and also move the recorder, creates some phasing effects and makes the microphones and headphones to act as prosthetic devices. Such drone, as smooth as agitated, mixed with an orchestra of insects and birds, allowed a listening experience that, combined with the height of the territory, seemed to lighten the weight of matter, challenge gravity and invite to a spacetime owned only by listening.