Beat.Map approaches the instrument as a dynamic territory rather than a fixed sound source. The bass flute and electric guitar are treated as cartographic systems: notation does not prescribe discrete pitches, but instead maps registers, surfaces, and zones of interaction.
Amplification and signal processing are not conceived as external enhancements, but as constitutive conditions of sound production. Through distortion, reverberation, and the interplay between different microphone sources, the piece foregrounds the instability of the sonic signal as it is continuously shaped and reshaped in performance.
From the perspective of Sound Manufacturing, the work operates as a system of co-agency in which performers, instruments, and technical devices collaboratively produce sound. Rather than presenting pre-defined sonic objects, Beat.Map enacts sound as a process—an emergent field of intensities arising from transduction, mediation, and performative interaction.
Flauta Baja: Juliana Moreno
Guitarra eléctrica: Ricardo Cuadros Pradilla
Grabada en el LIPM (Laboratorio de Investigación y Producción Musical) del Centro Cultural Recoleta
Grabación: Gabriel Lucena
Sonido: Agustín Salzano
