This composition was based on Field Recordings of the Belfast Harbour. There is always present in my work, the necessity to work with a recording that has certain sonic qualities, being the main one  – depth. By that I mean, a simultaneity of real life events in a determined space , that create a landscape of human activity, machines and nature, because that’s what happens normally. After this moment, I analyze the different sonic morphologies, and create, by using a bank of sound recordings made specially for this composition, new layers of mimetic and amplified reading of the original source. I create movements, that constitute an idea of embodiement, of circulating through that recording. For this purpose, the piece has a certain feel of ambiguity, between the organized and non-organized sound.  There is clearly, also an idea of not creating a narrative or any purposeful meaning, but more a feeling of atmosphere, of awareness of certain moods and perceptions, regarding this virtual space, as it is representational ( 1 ).
That is even more true for Second Life, although we considered a virtual existence, it is a place of simulation, because it still envisages bodily input, for navegation, exploration, communication.
This piece was created with the intend to be fragmented, for its sequence to be changed, to be connected to a different object, action, event or space, that can extend this space of bodily presence.

The space of moods is physical expanse, in so far as it involves me affectively. The space of moods is atmospheric space, that is, a certain mental or emotive tone permeating a particular environment, and it is also the atmosphere spreading spatially around me, in which I participate through my mood.  – Bohme

(1 )The Space of Bodily Presence and Space as a Medium of Representation
Gernort Bohme. 2003

Mp3 : Harbour


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