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.