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“Rizoma” was composed in 2016 using sounds registered in 2015 at Iguazu Falls in Brazil and Argentina, approaching field recording not as a way of "capturing" the territory but to move, transform and rethink its matter in order to open new listening opportunities.
Therefore, composition can arise from the exploration of certain faculties of the sound masses: granular structures and events, spatial articulations, frequency dances and immense reactions of echoes dwelling in the air. By exploring these relationships at multiple time scales, some particles, objects and groups of them can be obtained and then reconfigured to weave not a representation of the initial place, but worlds resulting from their inner voices, although preserving material essence, but emerging as a new habitat for multiple listenings.
To organize sound is in that sense not about fixing sound bodies in the timeline but revealing a network of sonic possibilities shaped by time as such, exposing a continuum of inter-connected micro/macro sounds which, without hierarchy, in the manner of a rhizome, spread in all directions to make the ears dream.