The genesis of the work Cartografía interior is rooted in a desire to materialize musically the imaginary that marked my youth. I had, for some time, the idea of exploring Scandinavian mythology through my acousmatic compositions. When I was younger, my readings on Nordic folklore and its cosmogony left a strong impression on me. The multiplicity and vastness of the worlds told in the cosmogonic myth, the diversity of its creatures, its incessant struggles between the forces of good and evil fascinated me. I wanted to imagine a large-scale work in which the movements would echo each other.
It is important to underline that the work does not try to materialize this universe in a literal way, but rather proposes a free and personal sound adaptation. The result is a music that explores energy, continuous and fragmented temporality, and multiple spaces through various timbres and articulations, rather than a research focused on mimicry or literal recreation of this universe. The great themes attached to this mythology being among others the natural forces, the infinite territories and the dynamism the whole initiated by an immemorial cosmogony could find a materiality in the work. The sound materials are the result of various experiments based on the hybridization of synthetic sounds, acoustic instruments, sound recordings of natural materials, as well as a series of transformations using digital audio processing.