I prefer musical material that is raw, that is to say it mimics physical gestures and phenomena, such as breathing, shouting, whispering, the pulsation of the heart, the undulation of sea waves; and material that makes references to archetypal musical expressions, such as lamentations, drones, and heterophonic singing. This material undergoes two different compositional processes: the first develops and transforms it according to highly formalized processes, which are informed by ideas from mathematics and computational sciences, such as group theory, evolutionary algorithms, and logic circuits. The second compositional practice takes the results of the first and treats them the way a cubist painter treats reality: it shatters them into a million dimensions and recomposes them in a subjective, non­linear narrative, akin to the process of reconstruction we undergo in our imagination when we try to recall an event that is distant, but striking.