This movie is part of a series of “cinegraphic sketches”, short audiovisual enquiries on scientific themes. These sketches take the form of visual essays, mixes of quotes, sounds and visual matters, to build an aesthetic apprehension — i.e. a sensitive knowledge — of the regarded subject.
A colourful but murky chaosmos pops up.
It is made by the blending of an image
taken from a bubble chamber – used to detect antiparticles –
and the detail of a Rembrandt’s self-portrait.
In these wobbly lands, crossed by the rumble of artificial strings,
textual shards, thought through the idea of antimatter,
its political and aesthetical echoes, begin to inhabit.