Para cruzar el sueño

The nature of human per­cep­tion is fas­cin­at­ingly un­clear. That so much of what we ex­per­i­ence we ex­per­i­ence al­most un­know­ingly, taking in the tex­tures of the world without clearly per­ceiving their con­struc­tion from thou­sands of tiny strands is es­sen­tial to the ap­parent in­ef­fability of our sur­round­ings. The heightened am­bi­gu­ities of sleep and its peri­meters in­tro­duce in­ter­esting ques­tions about reality, memory and the self; if dreams are re­con­sti­t­u­tions of past ex­per­i­ences span­ning a life­time of memories, taking place in split seconds per­ceived as hours, we enter a realm where the self’s ex­ist­ence as a pro­cess in time is ques­tioned, where tem­por­al­ities overlap, dilate and con­tract. In this mini­ature a sound­world of veiled sounds and briefly lucid re­col­lec­tions com­bined and blended with less clear, ‘noisy’ ma­terial echoes both an imagined/remembered noc­turnal land­scape and Borges’s sug­ges­tion that the ‘im­min­ence of a rev­el­a­tion which does not occur is, per­haps, the aes­thetic phenomenon’.

Para cruzar el sueño was com­posed at the University of Manchester’s NOVARS Research Centre for Electroacoustic Composition, Performance and Sound-Art in the au­tumn of 2009. It was premiered on 21 February 2010 as part of the Spring MANTIS Festival in Manchester, UK.

  • Instrumentation

    • Fixed media (stereo)
  • Details