Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.

And I'm always interested when other musicians are trying to discover new worlds of sound.

No, what is important is neither linearity or non-linearity, but the change, the degree of change from something that doesn't move to other events with different tempos in particular.

It is true that the eyes dominate the ears in our time.

I became aware that all sounds can make meaningful language.

But since the middle of the century in particular, the music has become very irregular in rhythm.

Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.