To compose is to invent systems. For this reason, the development of ideas, tools, methodologies, and infrastructures constitutes a foundational pillar of my musical practice. I worked as a research associate within the Musical Cognition team at the Cognición Musical de la UNLP, where I developed the transmodal analyzer diglo (2008–2009). I also collaborated with Dr. Héctor Maldonado on several experiments in Psicología de la Memoria Humana (UBATEC, FCEyN, 2) (2011). During those years, I developed my first works using the dynamic score language kimi, and premiered spam with the NYEnsemble (2009).

Since the beginning of the 21st century, I have understood my work as a connective and generative matrix of musical parameters and their social divisions. Lutherie, notation, space, and the co-creative roles of composers and performers can collide, merge, and expand, generating unexpected combinations.

My early experiments with microsound and amplification led to the creation of micro-instruments (microbeatlogic, 2013), which in turn evolved into a series of works that function as formal treatises on how to write and control audio feedback (Vilanos, Bulle). The harmonic result of feedback was later articulated acoustically, opening the way to decoupled and parametric writing (Aquenios).

In my role as a composer, I strongly believe that the discovery of new systems gives rise to non-repetitive structures (comparable to Prigogine’s notion of irreversibility), which architectonically ground the complexity of the aesthetic object and, consequently, its polysemic reception. This shared agency between control, indeterminacy, and autonomous systems appears as the primordial algorithm of my imagination. Live, corporeal sound becomes unpredictable, yet its pre- and post-acoustic vibration (or crossmodal dimension) can be measured and formalized through writing. This is the fundamental axiom that drives my artistic research practice.

If we consider the musical phenomenon in these terms, we understand that music is not only “what sounds,” but rather the entangled experience of multiple looping cognitions: human, machine, non-human, and cyborg.

Within this framework, reality expands to the edge of representation, where musical material can become simulacrum or fictional matter, composed of fictional objects (instruments).

This line of thought begins with the-universe-in-a-thread through the construction of the giants-vibraslaps, reappears in the doubled body mediated by a bifocal membrane in kokon, and establishes the idea that speculative expansions of instrumental interfaces—such as the fourth valve as feedback control in incursion—lead me toward a conception of music as estrangement from the real, as instrumental design of the past (m5live), and as the measurement and constraint of the imaginary through a system of writing and musical memory that embeds cognition into its own traceable sign (soog).

These practices both inform and are informed by my work as a composer and curator, as I actively seek the institutional and intellectual context in which to establish a laboratory for speculative organology and fictional objects. I see doctoral research not as a continuation of prior work, but as the necessary environment in which these lines of inquiry can be rigorously articulated, shared, and expanded—bridging composition, theory, and experimental instrument design into a coherent research program.