La realtà è invisibile, solo un processo indiziario ricostruisce delle trame in un sottile equilibrio tra astrazione, intuizione, deduzione ed ascolto. La perdita dei passaggi del processo indiziario fa decadere anche quella che può sembrare una verità trovata trascinando il risultato nel campo dell’arbitrio.
Reality is invisible, only a trial reconstructs some plots in a thin equilibrium among abstraction, intuition, deduction and listening. The loss of the passages of the trial makes also decay that a found truth can seem dragging the result in the field of the will. "In that films – Antonioni explains- I said that I never know as it is the reality. Reality escapes us, continually. When we believe to have reached it, the situation is already another. Developing with the system of the latensificazione an image, turned in an environment where the light is scarce, it succeeds in getting a clear image. Going more and more to fund in this system we probably reach the true reality of the things. The things that we don't probably see to naked eye come out. I always distrust what I see, of what an image shows me, because I imagine what is beyond. And what there is behind an image is not known. The photographers of Blow-up, that it is not a philosopher, wants to go to see more from nearby. But happens to him that, magnifying too much, the same object decomposes and disappears. Then, there is a moment in which he will declare the reality but the moment later it escapes. This was the sense of Blow-up. It will seem strange to say, but Blow-up was a neorealist film on the relationship between the individual and the reality, even if it had a metaphysic component for that abstraction of the appearance. After that films I have wanted to go to see what there was behind, what the appearance of myself was inside myself, as I had done in my first films. And Profession reporter has come out, other footstep in the study of today's man. " (M. Antonioni, Technically sweet, Turin 1976, p. XXVIII)
“La natura che parla alla macchina fotografica è infatti una natura diversa da quella che parla all’occhio; diversa specialmente per questo, che al posto di uno spazio elaborato consapevolmentre dall’uomo, c’è uno spazio elaborato inconsciamente. Se è del tutto usuale che un uomo si renda conto, per esempio, dell’andatura della gente, sia pure all’ingrosso, egli di certo non sa nulla del loro contegno nel frammento di secondo in cui si allunga il passo. La fotografia, coi suoi mezzi ausiliari: con il rallentatore, con gli ingrandimenti, glielo mostra. Soltanto attraverso la fotografia egli scopre questo inconscio ottico, come, attraverso la psicanalisi, l’inconscio istintivo.” (pp.62-63) !
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