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Still Rooms Changing

Still Rooms Changing is a unique audiovisual experience created by Raffaele Di Micco, based on a collection of photos he selected from my portfolio.
He processed this collection into a video and merged them with music and poetry that he also selected.

Take a seat on a chair or in a sofa and let Raffaele take you by the hand on a special journey through my landscapes.

 

Opening

…Pictures are attached to a wall, placed on your desk. Some of them not existing, some of them only remembered by someone and recalled while sitting in a sofa or in front of a harbor…

First room

Sea wall

Salut

Stéphane Mallarmé

Nothing, this foam, virginal verse
Lineates only the cup
In which a distant siren troop
Drowns, bottoms mostly up

Oh my divers friends, we sail,
I already on the stern
You the sumptuous prow cutting
Through winters of thunder and hail

A fine inebriation makes me fight—
Even as you pitch and reel—
To toast while standing upright:

Solitude, reef, star—
To whatever’s worth the white
Anxiety of our sail

Second room

Slow wall

THE CAT AND THE MOON

W. B. Yeats (1865-1939)

The cat went here and there
And the moon spun round like a top,
And the nearest kin of the moon,
The creeping cat, looked up.
Black Minnaloushe stared at the moon,
For, wander and wail as he would,
The pure cold light in the sky
Troubled his animal blood.
Minnaloushe runs in the grass
Lifting his delicate feet.
Do you dance, Minnaloushe, do you dance?
When two close kindred meet,
What better than call a dance?
Maybe the moon may learn,
Tired of that courtly fashion,
A new dance turn.
Minnaloushe creeps through the grass
From moonlit place to place,
The sacred moon overhead
Has taken a new phase.
Does Minnaloushe know that his pupils
Will pass from change to change,
And that from round to crescent,
From crescent to round they range?
Minnaloushe creeps through the grass
Alone, important and wise,
And lifts to the changing moon
His changing eyes.

Third room

The blue room

To Autumn (1819)

John Keats

Season of mists and mellow fruitfulness,
Close bosom friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the mossed cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For summer has o’er-brimmed their clammy cells.

Who has not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reaped furrow sound asleep,
Drows’d with the fume of poppies, whilw thy hook
Spares the next swath and all its twined flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.
Where are the songs of spring? Ay, where are they?
Think not of them, thou hast thy music too,-
While barred clouds bloom the soft-dying day,
And touch the stubble palins with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, born aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.

Fourth room

Dream wall

Amoretti LXXV: One Day I Wrote her Name

Edmund Spenser

One day I wrote her name upon the strand,
But came the waves and washed it away:
Again I wrote it with a second hand,
But came the tide, and made my pains his prey.
“Vain man,” said she, “that dost in vain assay,
A mortal thing so to immortalize;
For I myself shall like to this decay,
And eke my name be wiped out likewise.”
“Not so,” (quod I) “let baser things devise
To die in dust, but you shall live by fame:
My verse your vertues rare shall eternize,
And in the heavens write your glorious name:
Where whenas death shall all the world subdue,
Our love shall live, and later life renew.”

Exiting the rooms

E’ una strada senza fine… (1987)*

Raffaele Di Micco

E’ una strada senza fine
quella che percorro
è una strada verso l’eternità….
Il sole che l’illumina
non mi ferisce gli occhi
il sole che l’illumina
non mi ferisce il corpo
ti prego
ti prego
non mostrarti
non mostrarti a questo mondo
fa che esso ti dimentichi
dammi la mano
ti porterò dove il tempo non a senso
ti porterò sulla strada senza fine….

 

– o –

 

* Translation

It is an endless road… (1987)
Raffaele Di Micco

It is an endless road
the one I cover
is a road to eternity…
The sun that illuminates it
it doesn’t hurt my eyes
the sun that illuminates it
it doesn’t hurt my body
please
please
don’t show yourself
don’t show yourself to this world
let it forget you
give me your hand
I’ll take you where time doesn’t make sense
I’ll take you on the endless road…

 

– o –

 

Rooms Soundtrack

Room 1

Intro
Erik Satie Furniture music Möbelmusik Un salon

First Room:
David Sylvian – Answered Prayers
Harold Budd feat. Daniel Lentz, Ruben Garcia — Somos Tres

Room 2

Intro:
Erik Satie-Musique d’ameublement_ III. Carrelage phonique

Second room:
Cocteau Twins & Harold Budd – Bloody and Blunt
John Cage – Dream

Room 3

Intro:
Erik Satie – Cinéma. Symphonic Extract of Relâche

Third room:
Wim Mertens – Lir

Room 4

Intro:
Erik Satie – Tapisserie en fer forge

Fourth room:
OMD – Dazzle Ships (Parts II, III And VII)
Eric Satie – Petite ouverture à danser
Wim Mertens – Often a bird
Wim Mertens – Humility
Erik Satie – Gymnopédie No.1
Erik Satie Gnossienne nº 5
Philip Glass – Metamorphosis Two
Virginia Astley – It’s too Hot to Sleep

Exiting the rooms:

Kraftwerk – The Hall of Mirrors

 

 

 

The music and poetries added to the photos are only for display purpose. Any and all copyrights belong to the rightful artists and owners that are free to block (music)content if their rights are supposed to have been violated.

© Raffaele Di Micco – Jacob Berghoef FineArtPhotogrpahy

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