Sounds are produced exclusively by using analogical instruments; broadcasts of movements, percussions, rubbings, and electromagnetic fields of various commonly used machines. The physical active object is the real protagonist, the sound amplification and the enlargement and multiplication of shades and video make it become an obsessive exaltation of the minuteness, where the movement turns out to be the fundamental action and the expressive necessity.
The overlapping of live video images, the shadows of the objects, and the sound level appears as a dialogue among hyper-distorted languages that converge into an overbearingly mechanical katabasis. A table theatre in which electricity is the real motor of everything, it activates the devices and guarantees their exploitation.
The overpresence of machines is compared with the matter’s tasks, its imperfections, its defects, and with the humanity of little stories that each mechanism tells, as long as it is possible to check its working.
Live-media ‘stricto sensu’, where live excludes the sampling as the digging up of events recorded in the past and revived in the present. By amplification, distortion, enlargement and multiplication, turning small things into big things, useless things into necessary things, objects into characters and table into place.
Desk tragedy in one act for self-propelling machines.