On his best walks, he was able to feel that he was nowhere. And this, Nally, was all he ever asked of things: to be nowhere. New York was the nowhere he had built around himself, and he realized that he had no intention of ever leaving it again.
Paul Auster, The New York Trilogy, City of Glass
A metropolis that pushes, whispers and escapes, panting . A thick cloud of smoke, a taxi asleep under the snow, a coffee that cools waiting for someone or something.
But where are we? What is this place? We are in a faceless city, refusing to identify itself and to provide specific traits. Slipping away, turning its back to us. An inner city, with no maps or secure borders.
A foreign city, where to search for our own place. New York , 74 ° West longitude , 40 degrees North latitude. No need for coordinates, because this trip is a journey of the soul.
City of Glass is a topography where to find ourselves, built upon images and fragments. Here random encounters behind closed doors, glimmers of light, and shapes drawn from the evening, make up the catalogue of a reality of which we try to understand the senses. City of Glass lands us in a New York imagined, as seen in the film, as visited in a dream, long desired.
An existential map, where each frame contains a clue to find and a trail to follow. A visionary path in a city that is no longer just a place: is a topos, crossroads of imagination, complex architecture of expectations, projections and fantasies.
But this is also a story of love and mystery. It is the pursuit of something that has been lost, or that there has never belonged to us entirely: our identity, our ability to see. City of Glass is the shadowing of ourselves intertwined with the detective of Paul Auster: only here is the photographer to look for himself and to pursue his own visions. As Quinn, detective lost in City of Glass by Auster, also Michele De Punzio “in his best days is able” to push “the inside outside, thus shifting interiority domains”.
a. What program was used to create the multimedia?
I used Adobe Premiere.
b. How and why did you choose that sound/music?
I chose this music because I was looking for an imperceptible and uncanny sound. “Uncanny”, in Freudian terms, is a concept whereby something that is familiar to us becomes foreign and frightening.
c. Tell us about the editing process when you think of a multimedia.
When I think of multimedia, movies spring to mind; there are many stories, like City of Glass, that play out like a movie in mind. Atmosphere, colours and engaging music. Multimedia must be strong and connect to the viewer.