“dejar aparecer” (letting appear) is an experience or an attempt to let the musical material live so that from itself new possibilities open up. In a way, it is a way of composing that operates from intuition and which then seeks to create a coherence, a form. For that, I decided to start with the spontaneous composition of a soundtrack, as a framework in which the instruments could "slip", like organisms interacting with its environment. To make the process more organic, I kept working on this electronic part as the instrumental writing developed. In this interaction, the shape of the piece is constantly evolving and the end comes only by a completely arbitrary choice, when in reality it could potentially go on drifting indefinitely. This piece was composed from the ideas and thoughts developed by the biologist and epistemologist Humberto Maturana. In 1973, along with Francisco Varela, he proposed the concept of autopoiesis, which designates the quality of a system to reproduce and maintain itself. He also postulates that "a living being takes place or consists in a dynamic of realization of a network of transformations and molecular productions". This prompted me to draw a parallel with certain musical forms formed from the relational dynamics of individual lines, as in a Bach fugue, for example. Following this idea, each instrumental line in “dejar aparecer” develops independently and with electronics, in a constrained space, hoping to create an overall coherence.
To go further in this process, during the creation process I asked the musicians to play on the soundtrack that I had composed beforehand. With a few indications of harmony or playing modes, I let them improvise individually on the electronic part. The result was very interesting and varied according to each player. So I decided to formalize these improvisations so that they mingle with each other and with the soundtrack in a coherent whole, while respecting their identity. Following Maturana's idea, where organisms and their environments continuously intermingle and change with each other, I try to blur the line between instruments and electronics. This is why I decided to amplify, process and distribute the instrumental sounds in space, to better combine their acoustic nature with that of the soundtrack.