No Construction Is Whole

For bass clarinet, double bass, piano and electronics (2022).

The title is a reflexion taken from the essay ‘A Cyborg Manifest’, written by Donna Haraway, which becomes the conceptual frame of a series of pieces I started to compose this year. Haraway writes, ‘Cyborg feminists have to argue that “we” do not want any more natural matrix of unity and that no construction is whole.’ (2016, p. 21). Thus, this composition is an exploration of the relation between concepts like organism-machine, physical-non-physical, and natural-artificial. Through the analysis of the apparent opposition it surges a construction of fundamental connexions, which attempt the expansion of the technical, aesthetical and existential boundaries. Conceptually, the difference between the live performance (acoustic, natural) and electronics (digital, artificial) transfigure into a new timbral experience through the interaction of the harmonic spectra and their mutual alteration in the acoustic space of the instruments.

Score excerpt from ‘No Construction Is Whole’.