How to create a sound work that aims to generate an indeterminacy of the space-time continuum? 

The work—in its final form—is a way of answering this question with sound, but now for more details: the visual-sonic concept used for its creation is the line, with sound being the extension and behaving as a kind of line (the notion of the continuum). These sounds, written in a certain way, seek their indeterminacy in time; and in terms of space, the sounds are indeterminate due to many micro-factors. This work was created from meditations on Sound-Based Composition. Towards the end of the work, a sound representation of a prism can be heard. The work was composed for the Montréal–Monterrey, le souffle des corps project, a collaboration with the choreographer Lila Geneix. 

To a large extent, many of the sounds in the work resulted from our pleasant conversation. Indeterminación del continuo [espace-temps] is the second work being developed for the Quasar saxophone quartet, to whom the piece is also dedicated. It was composed with the support of the National System of Art Creators.

[...] And what does the box mean? [...] dedicated to the Quasar and the white snow of Montreal, to walking [...]

Eduardo Caballero, composer
 

Antichambre explores a liminal space. In both the musical composition and the choreographed spatial motif, continuous line and repetition create a tension: maintaining the movement or allowing itself to slip into disorientation. The dancers engage in a dialogue with the music, appearing as ephemeral frescoes—images that emerge and then vanish. A question runs through the piece: does dance extend the sound, or does sound arise from movement? It is in this liminal space that the media meet.

Lila Geneix, choreographer

*This piece was created collaboratively