You are not asked to believe in photography, but to think through it. In this mapping, which is the synthesis of the other two proposals, you are invited to accept illusion not as deception, but as a space for reflection. The Po Delta—that place that “does not exist,” according to Cibotto in Scano Boa, but which, according to the author of these pretenses, loudly demands to renew its sense of identity and belonging—becomes the setting for a conscious, necessary, generative fiction. The landscape is not only a physical place, but a symbolic field: just as the embankment contains the river and negatively turns it into territory (while preventing the one from meeting the other), so the image constructs meaning and turns it into history: fictions, if shared, can be acts of foundation.