With Inharmonicity, we've tried to realize an urban symphony, through those sounds normally hidden from our perception and revealed through unusual transducers.
In the track Girl Running, a dialogue is established between the sounds synthesized with Xenakis' UPIC and the sound outputs of invisible electronic objects. By carrying these magnetic fields into the audible range, the sounds have been suspended, intimately researched, orchestrated, in order to cross the physical borders of aural perception.
The goal is to expand the simple concept of presence, looking for perspective and distance without creating virtual spaces, while pragmatically integrating aural environments in the compositional process. It was an attempt to recover our capacity of phonetic discrimination, with no fear of looking for the silence around us, avoiding that these singularities get lost in an unbalanced aural environment.
The imperfections in each sound/noise and the silence, free from any insurgence of distortion, are locked in a conflict of eternal existence and interdependence, where each realls its contrary.
Silence not as Emptiness, but as living presence that precedes  the life of men and goes further than death.

In the visual portion of the work, the ongling absence feeling is metaphorically represented by the superposition of desolate landscapes and apparently motionless, but in a deep perception of a constantly changing reality; distressing images and quiet absence. The action is layered up to reaching, in total synthesis with the audio track, a dialectic of lights and shadows, in total absence of colour.

The materials "caught" this way, is then played and re-recorded in real environments, not generated through digital reverb devices. This technique, often used but sound designers such as Ben Burtt and Walter Murch, is called worldizing. It consists of playing through a speaker the sounds created, and re-recording it with one or more microphones in different locations (garages, churches or other spaces which have interesting aural characteristics).

This way it is possible to realize several effects, i.e. the classic Doppler, by quickly moving the microphone in front of the speaker, so to vary the frequency of the soundwave (to observe this phaenomenon directly, simply listen to the different sound frequencies of a siren when it gets close and then far away).

The second work Invisible Words takes its name from the fact that most audio sources in this track come from the typing of an old Olivetti typewriter.
These recordings, after being processed using micro-montage techniques, have been presented in different metaphores.
The most interesting maybe, appears in the final phase (last 4 minutes), where a quiet stream of structured pulses mimics, in an almost onomatopeic manner, the attempt to emit a sound/word with a closed mouth, a painful besides impossible action, almost as if they were invisible words spoken inside the same mouth.