Basilicata, Southern Italy, is a place so little apparent that anyone interested in it must expect to be heavily influenced by imagination.
Potenza 100 is a work that tells the region as a place that few people can claim to have seen, and that, at the same time, many ones have images in memory about.
A sort of Italian Area 51. I have chosen to match the aesthetics of a marginalized territory (like the authentic Basilicata, in fact), to another unreal, isolated voluntarily (a mysterious military base in the desert, or an area dedicated to the exploitation of resources).
This was made possible through a research that puts arid and remote landscapes in dialogue with scientific research facilities, like astronomical and energy exploitation centers. All elements already present in that panorama.
The body of work is something that has more to do with science-fiction than with the reality, and that tells a real and unknown territory through a fictitious but consolidated imagery.
Potenza 100 investigates and plays with the absence of a shared imagery around the region, taking all the space left by that visual void.
Roberto Boccaccino is an Italian photographer working mostly on long-term researches and documentary projects.
Potenza 100 was presented during Slideluck Gazebook and PhEST.
a. What program was used to create the multimedia?
Final Cut Pro 7.
b. How and why did you choose that sound/music?
All the cut and pace started form the sound piece I chose. It was something I wanted to use for long time, and I found it perfect with the mysterious and sci-fi mood of the work.
c. Tell us about the editing process when you think of a multimedia.
I think that tempo and climax are two main points in a soundslide like this. I didn’t use any moving clips, just pictures, so it was important to give them the chance to catch and keep the attention. I didn’t select many pictures that are important and strong in the project, in order to focus more on a clear mood. I want people to react with curiosity about what they just watch, and that’s why I’ve chosen to assemble many pictures for a short time frame. Enough to get people in the story, too short to get out.