A screen covers the facade of an apartment building that is being renovated. The screen is rippling as the wind is passing through it, while we listen to the sound of a ship approaching the harbor, the wind and the sea, ropes that are tightened on the piers, distant human voices.
The sounds are indiscernible; they mainly mould a threatening atmosphere: the probable unveiling of a scandal, the fall of a mask, the revelation of a monstrosity.
A small empty plot full of arid herbage between two concrete walls. Natural sound, cars passing by, a voice coming out of a transistor or a cell phone, steps in the grass approaching, stopping and fading after a while. None of this is visible, though.
Perpendicular shooting from the entry bridge to the National Highway, which forms a big part of the Western suburbs. The view is planar and zoomed-in so that the characteristic features of the cars are indiscernible, while one can observe the mediocre condition of the roadway with the washed-out traffic lane.
The sound consists of the natural deafening noise of the National Highway. Suddenly, the intense sound of heavy hammer hitting on metal strongly drifts the image away with it, too.
A small part of the elaborate marble base of a neoclassical column is visible on the bottom right part of the picture while the inclination of light reveals that the sun is setting. In fast motion, the degrees of light change in tandem with the noise of a creaking door opening and closing. This temporal back-and-forth is interrupted by the shadow of a man whose quick movements imply anticipation (he is looking into his purse, smoking etc).
Fireworks explode in the dark sky after the end of a festivity. In the very short pauses between the detonations, one can listen to the expressions of awe of an audience satisfied by this lavish spectacle.
What springs into mind whenever I watch firework shows in the city is the phrase “Much ado about nothing”.