Ocaso – Slowing Down the Vertigo is a minimalist vocal soundscape built from an original field recording of a sunset. The work brings together environmental sounds—birds, insects, and other animal presences—with machinic elements such as passing cars and the distant hum of a highway, treating them as a single hybrid acoustic field. These materials are interwoven with a minimalist vocal composition inspired by Éliane Radigue, based on duration, micro-variations, and subtle harmonic shifts. The voice does not act as a dominant element, but as a mediating presence within the soundscape. A soft electronic murmur connects the natural, vocal, and machinic sounds, while processes of acceleration and reverse time-stretching introduce a sense of instability and vertigo. In counterpoint, the sustained voice reorients perception and helps produce a slower experience of time. Through attentive listening and iterative experimentation, the piece explores an interspecies chorality in which human, non-human, machinic, and electronic presences merge into a shared sonic field. The work invites deceleration and proposes listening as an ethical response to the vertigo of acceleration.

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Ocaso – Slowing Down the Vertigo is a minimalist vocal soundscape built from an original sunset field recording. It brings together environmental sounds — birds, insects, and other animal presences — with machinic elements such as passing cars and the distant hum of a highway, treating them as a single hybrid acoustic field. These materials are interwoven with a minimalist vocal composition inspired by Éliane Radigue, based on duration, micro-variations, and subtle harmonic shifts. The voice acts not as a dominant element, but as a mediating presence within the soundscape. A soft electronic murmur connects natural, vocal, and machinic sounds, while processes of acceleration and reverse time-stretching introduce a sense of instability and vertigo. Against this, the sustained voice reorients perception and helps produce a slower experience of time. Through attentive listening and iterative experimentation, the piece explores an interspecies chorality in which human, non-human, machinic, and electronic presences merge into a shared sonic field. The work invites deceleration and proposes listening as an ethical response to the vertigo of acceleration.