Couverture: Soledad Coyoli, Cartografía interior (2025)

The genesis of the work Cartografía interior [Inner Cartography] is rooted in my desire to musically materialize the imaginary worlds that were meaningful in my youth. I had envisioned exploring Scandinavian mythology through my acousmatic compositions for some time. My readings on Nordic folklore and its cosmogony as a youth left a deep impression on me. The vast multiple worlds described in the cosmogonic myth, the diverse mythological creatures, the ceaseless struggles between good and evil fascinated me.

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Cartografía interior is inspired by Scandinavian mythology as recounted in Snorri Sturluson’s Edda (1220). The work consists of three movements that symbolically aim to represent three points of view at different scales. I wanted to imagine and create an experimental musical work in which the musical movements would resonate with one another. I sought to give birth to a reinvented universe, imbued with a personified nature. Its dimensions range from the titanic to the microscopic, unfolding through gestures, behaviors, energies, and materials. The result is music that explores energy, both continuous and fragmented temporality, and multiple spaces.

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Collaboration lies at the core of my practice. For this project, I wanted to explore new sonic materials such as recordings of natural elements and acoustic instruments brought to life by collaborators. The creation of Cartografía interior was for me a true playground, allowing me to explore different forms of sound synthesis, record a wide variety of sound sources, and above all experiment with various ways of bringing them to life in the studio.

Allow me to emphasize that the work does not aim to materialize this universe in a literal fashion; it is a free, personal sonic adaptation. The major themes tied to this mythology — natural forces, infinite territories, and the dynamism of a time-immemorial cosmogony — found a form of materiality within the work.