Paraphrasing musicologist Rubén López Cano, this piece is nothing more than an incursion into the question “how does art differ from reality?”. Perhaps, one of the possible answers can be found by tensing the strings, in temporal and spatial terms, whitin a fact that is not a dichotomy anyomore: the distinction between “virtuality” and “reality”.
The elements placed on the game board blur their very nature, building what we can call an “interested reality”. This territory is shaped by both fictional and real elements from the work’s outside (geo-locations or material customized by the performer). The player, who is placed in a user-like position, equally becomes a source and a receiver of the consequences of his/her decisions. The performer’s action, summarizing, explores different ways to understand the same action from different phenomenological angles (POV is the abbreviation of “point of view”).
In the piece, the individual is completely mapped by a projection he/she apparently “controlls”. This dialogue is hold by the fact the performer is not only part of the projection surface but factually inhabits the piece through its score. Hence, a double correspondence is created: the performer is completely isolated from a reality he/she interacts with and, at the same time, the audience becomes a witness of its amplification.
The video projection of this piece is personalized by the performer via the recording of several fragments, which are treated and indexed into the final project. They fix the identity and the here-and-now of every performance. Together with the score, some instructions and video examples are provided to be followed during the recording process, which is assisted by BELOS Editions.