WIND 01/01 Throughout the day I evaluate the intensity of the wind. The following are the 8 values I use to assess it: 1, 2, 3, 5, 6, 10, 15 and 30. They range from value 1 representing a state with absolutely no wind, a state that I often time experience, to value 30, a most extreme wind breaking trees breaking and ripping tiles off roofs, a condition I have very seldom experienced. Almost unawarely then, as I perceive some wind against me and particularly against my face and ears, I set to type down the corresponding value on my smartphone. This practice of being aware of the wind has become so embedded in my daily life that often I don't even have to type the value in my smartphone but the day after can simply recall the places I have visited and the type of wind I experienced there. As the data collected in a day is later replayed in 30 seconds, daily, I only collect a total amount of values corresponding to a dividend of 30 such as “1,2,1,3,2” or “1,2,6,5,2,5,2,5,3,2” or “2” (Fig. Screenshot of a month tracking the wind with periods of intense and strong wind and periods of relatively little wind).

WIND 02/12 Using my own body as a sensor, I have learned to predict and expect days with or without wind. More specifically I have learned to use my very face to detect the wind blowing against it. In addition, especially when indoor and my face does not feel the wind, I make also use of the visual signs I detecs in the surrounding mostly by looking outside the window at the branches of trees and how they react to the blowing wind. After turning my study into a bedroom for my youngest child, I started working in a narrow and dark attic. Here every morning I update my project but have no windows to check the branches of the walnut in my girlfriend's backyard. The observation of this walnut has been an important indicator for me to see when I spend my time indoor how the wind evolves in the course of a day. I might then have to wait to be outdoor to get a first impression of the wind. However, even under the roof of my girlfriend's small house, when the wind is very powerful I can hear it in all its variations. Using my ears as an indicator I then assess the different ways in which it whistles (Fig. Screenshot showing me while in Finland detecting the wind not only against my face but from the moving canes next to a frozen river. In a city contest, other indications helps me to assess the intensity of the wind. I can observe flags and also how the trash moves like leaves on the streets).

WIND 03/12 This part of the project is not just the record of wind intensity that a weather station could in fact more accurately record. It is a record of a natural force such as the wind channeled within an highly urbanized environment such as the straight roads of a city surrounded by high-rises. Here the wind as a strong strem of water is forced to take certain paths that weather stations do not analyze. In Cambridge Massachusetts I often walked with my oldest son across the MIT University Campus. Approaching it from the north east of town we often walked on straight and large roads where the wind found no side escape nor any frontal obstacles. As a result the wind could gain quite a strong intensity even if just outside the campus on the Charles River I would detect at times no presence of the wind. In this respect this work also detects not only a natural force but also a force that has been boosted by human architectural interventions on the landscape. In the latter part of my life I have been living in older and smaller cities. They were often only surrounded by nature and yet many obstacles such as houses and dikes and trees have been providing me with a variety of exposures to such a natural force (Fig. Screenshot of the wind I experienced Dortmund. The city was entirely reconstructed after the war and many were the visual indicators showing the wind channeling in the modern layout).

WIND 04/12 In the first place the record of the various intensities I have detected in the wind is to be conceived among my other acoustic works. Acoustically speaking then this work is meant to interplay with other acoustic works such as the lyrics, the heart-beats and the reciting of casualties. This particular work is however more of a background noise to the other works; it should create a constant interference to them with only seldom moments of peace when there is fact no wind to be reproduced. Given that this record of wind intensities should be replayed by a large fan hanging on the ceillingof an exhibition space where all the other works of the project are presented, the artificial wind that is generated also come to interfere with the more visual works of the project. If it doesn't literally interfere with them it interferes with the actual experience a visitor might get of them. While walking with headphones reproducing my thoughts a visitor might is likely to feel the wind blowing against him or her at various intensities. Not only acoustically then but also at a more tactile level the exhibiting of this work would recreate inward what I have mostly experienced outward (Fig. Screenshot of an animation I made to simulate the fan reproducing the wind values. The sound was made by myself blowing in a microphone at different intensity).

WIND 05/12 Throughout the course of my project I have witnessed a weather becoming increasingly erratic. Along with sudden changes of temperature I have been able to observe how, in the course of the project, the wind became increasingly more erratic. Living in the Netherlands I occasionally experience powerful wind reaching up to 90 kilometers per hours. Substantially however I have never witnessed any major catastrophe while living there. Spending considerable time in my native alps I began noticing long periods without any wind and an increase level of air pollution followed by sudden hurricanes. Never before these violent manifestations of the wind were recorded in the area. One of them in particular was an unprecedented calamity in my native highland. Under the name of “tempesta Vaia” in the fall of 2018 a hurricane hit the highland at the speed 180 kilometers per hour. As a result 41.000 hectares of vegetation and 42.000.000 trees were lost. In this respect the wind completely disfigured my cradle which have been already disfigured by war first and by tourism later (Fig. Screenshot of my native alps where the wind was detected checking the flags of a main meeting point. As I decided to build the project museum in the alps I had to face the fact that the wind became so brutal there. In one instance it demolished the nearby Arte Sella, a 30 years old landart sculpture park).

WIND 06/12 Value 1 is used when the landscape is perfectly still and no trace of wind can be detected. This can also mean however that there are obstacles between me and the wind such as a building or a hill and that soon after I walk pass these obstacles the wind might be perceived again. In some occasions however and rather cyclically there are entire days in which the wind is not perceived whatsoever. I can be walking on a dike or an mountain slope and I can be quite astonished to see how there is no single movement of the vegetation, almost as if the wind like an actual creature is completely deserting the place. Generally also the wind is perceived more during the day while early morning and evening can be completely calm. In this respect there is oftentimes a crescendo of the wind and the tracking usually starts with value one. Almost as if symmetrically towards the end of the day there is a decrescendo and the value of the wind is also likely to end with value 1 (Fig. Screenshot of wind values with annotations belonging to my time working as a researcher in Sweden. Then I was moving frequently across the country, experiencing periods with a lot of wind and periods with no wind. Also the screenshot shows a special period of transition from a season to another. Generally these transitions are rather restless especially in the very south of Sweden, a place battered by the wind).

WIND 07/12 Value 2 is generally not so easy to perceive but can be detected right from the subtle movements of tree branches. It can also be detected observing other props in the natural landscape such as the subtle movement of the grass but also the slight movement of the long hair of my girlfriend or of my kids or of other people keeping outdoor with me. Similarly value 2 can be also detected in the urban landscape even when it lacks any form of vegetation. Then I could for instance observe the subtle movement of adds pinned on a message board or look at the subtle ripples the wind begin creating on an otherwise flat water surface such as that of a city pond or fountain. 2 is also likely to be the most used value of this part of the project; it is the very stage in which the wind could potentially grow in intensity but doesn't really have the power to do so. Also 2 is the value I use to record moments in which the wind is actually quite powerful but interrupted by a certain obstacle. I could be walking a along a coast which could lead me to a fisherman village. Walking through it I would perceive a far less intense wind (Fig. Screenshot showing me and my daughter taking a hike outside a forest into an open field. It is only then that I notice a change in the wind. Emerging from the more forested and thus more protected area, the wind is suddenly moving the branches and annoying my small child).

WIND 08/12 Value 3 represents a breaking point. I use it as soon as I perceive the wind to be definitively brisk. Then there is no longer a need for any visual feedback as when I assess value 2; with value 3 the wind can be felt both on my face and it can be even heard. At this point the flags surrounding me or the hairs of the people around me are generally steadily floating in the air without the hesitation characteristic of value 2. With value 3 I generally avoid any biking; the dikes in the near of my girlfriend's house are more exposed to the wind and biking when the winds blows can be quite a painful experience. With value 3 however I usually don't mind being outside and I can very likely take a walk then. When my kids were small they were quite sensitive to the wind and got quite annoyed if it started blowing especially if it was cold. In this respect while I still found it pleasant to be outside I might have had to make it back inside for their sake (Fig. Screenshot showing me hugging my girlfriend at the edge of a rapeseed field on our way to a Swedish island. In these early phase I used track the wind in whatever circumstance by annotating the values on my phone. With time I was able to simply rethink my day and remember the various wind intensities I experienced without necessarily having to annotate them in real time).

WIND 09/12 Value 5 generally represents a state in which the wind is not only perceived visually and acoustically; I can feel it blowing on my face as well as on my body. Generally at this point also the urban furnitures around me start being affected by the wind. Not only the leaves and the trash from sidewalks begins spiraling around but many objects begins moving and making additional noise. Flags, metal roofings, market tents, scaffoldings and whatever is not properly fixed start flapping as if in a orchestra directed by the very wind. At this point I can either challenge the circumstances or make it home depending if I feel like that the wind is increasing or deceasing its trend (Fig. Screenshot showing me in the near of our Dutch house detecting the wind from the movement of trees. Generally with the shift of wind intensity from value 3 to 5 it is time for me and my kids to take shelter away from any tree. While there is a risk for branches to break and fall on our heads, value 5 at times does not develop into higher values. It can still generally be safe to keep outdoor but it can be hard at this point to even go around with the stroller. If value 5 is quite consistent however I have not so much purpose in being outside; the wind interferes too much with the recording of my thoughts and I am even incapable to film public space as the wind makes my smartphone tremble).

WIND 10/12 Value 6 generally never comes as a steady value but it is somewhat an evolution of value

5. It is an intermediate value that can potentially evolve into a much more powerful values. When I feel that my body and the surrounding is more powerfully affected by the wind I use my phone or my brain to annotate value 6. In this respect 6 is a peak of intensity that can go onto more powerful peaks which in turn exhaust themselves into for example value 5 or lower. It is more likely however that value 6 escalates to value 10 or even value 15. Either way value 6 is often perceived in the morning while I am still indoor and hear it battering right outside. I can at time also experience it during the day or in the evening. Seldom I can also hear it in the middle of then night. This type of wind is likely to wake me up and does not allow me to fall back asleep. I might then just begin updating my project and annotating on my laptop in real time the way the wind evolves. In this case I am a listener and reproduce with number the wind according to the scale of values I set up for it (Fig. Screenshot showing me typing the wind intensities on my first smartphone. Generally many variations with low values such as in the image are characteristics of a day spent entirely outdoor for example walking in a forest with small hills at times exposing and a times shielding me from the wind).

WIND 11/12 Value 10 and above are used in extreme circumstances such as when the wind can be also heard indoor especially during storms at night with objects flying in the air and windows or doors breaking open. At this point the wind is a rather scary experience and I can grow worry about the shacks I have built to produce the various components that make up the project museum. This is especially the case in my mountain apartment. It hasn't been renovated for more than half a century and faces a valley fully exposed to the west wind. When this wind blows drafts can be felt everywhere in the house and the entrance door can get wide open (Fig. Screenshot showing the entrance of my apartment in the alps. Tibetan flags hangs above the entrance and the wind recites the prayers written on them. Not only the entrance of my little apartment is highly exposed to powerful winds but also the project museum set up in a nearby valley. The museum had to be completely designed keeping the wind in mind. The open textures that make up the museum walls have 5.184 perforations of 10 by 10 centimeters each to allow the wind to filter through them. This system avoid dangerous sail effect which could dislocate the museum. This type of design had to be adopted in order to face the increasingly subtropical weather climate change has brought to the alps).

WIND 12/12 In an ideal exhibition, the resulting wind values are reproduced by a large fan of 360 centimeters in diameter. In this respect the fan looks like a pop art sculpture scaled up to a considerable size yet retaining the nostalgic aesthetic of old fashion fans hanging from ceilings as seen before the air-conditoners and in old Western like movies. The fan is located meters at a height of 22.8 meters under a cupola-like structure. The fan could be seen as a wind powered generator that is in fact also affected by the wind filtering through the perforations corresponding to my emotional state. With the use of a fan also the visitors would be able to re-experience what I have generally experienced when perceiving the wind. The various visual, acoustic and in this case tactile experiences that the whole ideal exhibition offers, brings more of an amusement park like four dimensional experience. This experience can be further enhanced in the case in which the actual cupola under which the fan is locates can also turn into a place that visitors can access via a path on its perimeter (Fig. Rendering of the ideal exhibition with the fan to reproduce the wind intensity highlighted in red. The fan may be also affected by the rain and the snow that could blow inside the perforated panels of the pagoda looking cupola. The fan has the effect of a mill spinning in the wind yet in a more erratic fashion).