I.E/L.P : How do you establish the relation between electro-acoustic music and visual arts and stage carft in the exhibition space?

G.B : I work with a large variety of formats: I can create concert pieces that are only music, or that include performance aspects. I often work with other artists as well: photographers, musicians and dancers. I co-direct a group called “Los de al Lado” with the choreographer and dancer Sonia Gili. We've produced 25 pieces in which music, theater, dance and images create a “multimedia spectacle.” The aim is to establish a dialogue with the public, which I refer to as “reinterpreting the work,” because I think the spectators have to understand the codes presented.

I.E/L.P : What are the primary changes resulting from this new relation between the spectator and the work?

G.B : I think that to see, feel or hear a work means really being interactive. In the last 50 years, two paradigms have powerfully affected digital art from the point of view of sound. The first consists in that the timbre and the internal parameters have come to form part of the structuring of sonic language. This fact completely changes music previous to the notion of the sound object, which in general, was structured around the parameters of pitch and duration. Now others have been added, such as the spectrum, materiality and gestural quality of sound, which cross over to the work and which can interact with different artistic languages.