My interest in writing scores is strongly connected to the inherent ability of music to embrace reality. I understand music as a network of potential relationships, a priori, of any kind; as an extremely intricate machinery that allows interpretation to flourish. Not only do I understand interpretation as the act of performance (as in the activity that takes place between score and performer), but also as an essential aspect of both the process of composition and the act of listening.
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When composing, I make an effort to meticulously analyze every single material that I am interested in. Whether I am dealing with a particular psychological visualization of a potential sound or the nature of a simple notational signifier, each object needs to function as an essential mechanism of the overall outcome.
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To compose, for me, is a matter of penetrating into my own ability to discern the implications of every single compositional decision: it is an exhaustive process that attempts to transmute my own perception of reality into a different domain. Composing embodies labeling, triggering, listing, critiquing, but it also provides a setup in which noise causes a predetermined system to reorganize itself at a higher level of complexity—hence unpredictability, inconsistency, diversity.