The composition and internal architecture of the wood exhibit anatomical behaviours like those of the bones of the human body. Concerto per Legno e Ossa opens a space for research on movement as a pre choreographic language, between the sound environment activated by contact with the body and the imaginative and perceptive resonances of those who testify to that contact. The dematerialized space, the dance, become a ritual embodying a mysterious crossing that causes effects of temporal suspension and physical drift. The work, as an installation, is suitable for unconventional museum spaces.