B U C O B IA N C O
(W h i t e H o l e)
a project by Luigi De Angelis and Sergio Policicchio
“A white hole, in general relativity, is a hypothetical region of spacetime which cannot be entered from the outside, but from which matter and light have the ability to esca- pe. From this point of view it is the opposite of a black hole, which can be entered from the outside, but from which nothing, not even light, has the ability to escape. Hence, someone thinks that white holes might be the far end of a spacetime tunnel connecting a black hole with very distant regions of the universe or even with other universes.”
The project is meant to inquire, by means of a vast mapping operation, into a urban area’s body of sound. Ravenna is a geographically unique town which presents itself to the eyes of a stranger as an elusive, irreducible, immeasurable, labyrinthine body. Plunged into the waters starting from the name itself (Ravenna, “flowing of waters”), Ravenna’s body of sound has always been changing, it rushes towards the sea and at the very same time it sinks into itself. Following the trajectories of animals, dwelling upon their kingdoms, mostly hidden and parallel to the flow of contemporary life, the project attempts to compose, by means of the lenticular technique of micro-mosaic, a thin body of sound of very ancient origin, which passes over the physical and time borders of the town, its towers, its walls, its barriers. An imaginal and sound body, suspended over the perpetual comings and goings of waters between t he swamps and the sea, a body like bellows which opposite forces flow through, with its door on the sea open on infinity.
Is it possible to identify the original and foundational sound of a town? Is it the same sound which the animals living in its territory nowadays heard in an- cient times? Are they a part of it themselves, its body? Is it possible to isolate it from the sounds generated by men or is it definitively compromised? Is a genu- ine epiphany of one, two, one hundred authentic pulsing sound organs possible in such a stratified territory? Which are the lines of friction between the ani- mal world of sound and the human one? Is there an ongoing sound war between them? Which are the architectures/tympanum resounding and permitting to get deeply in touch with this body of sound? Which are its doors, its passages, its keepers, its archetypal and foundational geometries? Is it possible to render the astonishment in a stranger’s eyes getting in touch for the first time with Ravenna’s territory? To edit a perceptive sound dictionary of its landscape?
Just as, in the theory of relativity’s hypothesis, matter and light pass through a spacetime tunnel connecting two universes distant in time by two holes or cones, one called “black” and the other called “white”, one attractive and the other irradiating, one belonging to the horizon of the past and the other to the horizon of the future, listening to a town’s body of sound means to put ourselves at the crossing of the two horizons, at the centre of the spacetime tunnel, to become the tympanic membrane and twofold cone: on one hand to attract the sound materials of the vulgar universe and on the other hand to irradiate them on the subtle, imaginal one, giving them back to the town.