The piece’s title references the namesake concept coined by Italian renaissance scientist/artist  Leonardo da Vinci. I came across this notion through Brazilian philosopher Vilém Flusser. Flusser explains that da Vinci’s notion would perfectly describe devices such as photographic cameras and audio recordings inasmuch as these devices merge scientific knowledge (essata) to serve artistic purposes (fantasia). In this composition, I am only using concrete sounds. There are no synthetic sounds whatsoever.

In addition, I experimented with the technique I named Concrete Variation for the first time. The essential idea of such a technique is to articulate chains of prerecorded sounds of sounding objects that share materialistic and causal relationships. For example, I used the stone-sand-glass chain to produce a kind of music variation in this piece. Listeners can identify the sounds from stone and mediate the contiguous relationship between sand and glass. Like in a musical variation, one material (rock) is repeated in altered ways (sand and glass).