All through the piece there is a constant counterpoint between the physiological world (that of living organisms) and the metal mechanical world. On one hand there is an energy core as an expression of the essence of life, and on the other there are many objects that are working as truly artificial mechanisms. Life undergoes minuteperturbations and alterations as it progresses through different steps, phases or mechanical universes, which finally amounts to reaching a new condition.
Additionally this piece makes use of the spectrum as a means to create a dialectic between saturation and vacuum, which will be in permanent conflict with one another. The drama is all about forcing them to coexist, thus establishing a structural tension. However, the last section of the piece overcomes this conflict, and saturation and vacuum identify with each other. The opposites ultimately prove to be equal. That is to say that the magnet repulsion is eventually solved and magnets are able to reach an equilibrium point through the union of north and south poles. Identification is then attained through difference.
Saturated electronic sounds are mainly generated with timbre alterations obtained not only through spectrum manipulations but also by means of simple changes in sample quality and by time stretching and compression. The result is in some cases a quasi-synthetic sound and always takes up a large portion of acoustic space.

Lucas Fagin (AR), born 1980, studied composition with Daniel Montes and Ricardo Martinez until 2003 in Buenos Aires. From 2003 until 2007 he studied composition with Marco Stroppa, Stefano Gervasoni and Luis Naón at the Conservatoire National Superieur de Musique de Paris.