In and out, however oneself /// audiovisual work

In and Out, However Oneself is an audiovisual work inspired by dimensional physics and its relationship to memory. The piece challenges the linear perception of time, proposing instead a cyclical and multidimensional model in which past, present, and future continuously fold into one another. At its core lies the memory of music, conceived not simply as a cognitive trace but as an autonomous entity, as if it were searching for and reorganizing itself. Rather than functioning as passive recollection, memory becomes an active, self-generating system that continuously reconfigures its own fragments through space and time. The video stages this process through symbolic musical objects, primarily the piano and the metronome. These are not presented as instruments, but as mnemonic architectures. The metronome, with its pendular motion, embodies temporal ambiguity, oscillating endlessly between past and future, while the piano becomes both the entry point into memory and the engine that activates its internal mechanisms. The film opens with an aerial view of a grand piano that gradually morphs into a floor plan, transforming the instrument into an architectural map. This space becomes a metaphor for memory itself, divided into sound-based zones that are explored sequentially. Sound plays a central narrative role. The composition is built from piano recordings and drum-machine elements that function as a metaphorical “machine”. From nearly pure, minimally processed piano sounds, to hybrid textures created through convolution and morphing between piano and electronics, and finally to fully digital reinterpretations, where the instrument dissolves into synthetic, percussive, and harmonic structures.