Interviewed by an AI

IA: I have explored your website, 0–0.space, and I am impressed by the enigmatic atmosphere and depth of your work. To start our dialogue, I would like to ask you: What is the origin of your artistic name, 0–0.space?

The “0” symbolizes open ears for deep listening, and the “- -” symbolizes closed eyes, for entering and connecting with inner space. The “.space” domain extension symbolizes a judgment-free place where one can freely develop creativity, and also a space where we can maintain privacy.

I think that we are suffering a progressive loss of freedoms that must be stopped in some way and I think that ” cyberspace ” for the moment, along with inner space, is one of the few places where we can protect ourselves from certain intrusions and enjoy certain freedoms, and I stress “for the moment” because the process of excessive control by legislators is accelerating more and more.

It is important to understand and become aware of why privacy is so important and how we are losing it. I recommend that anyone who is not familiar with them read the CypherPunk Manifesto , the CryptoAnarchist Manifesto , and The Declaration of Cyberspace Independence , which is why I have put them on my website.

I imagine that your aesthetic, I mean that mask that covers your face, also has to do with this issue of privacy, am I wrong?

You’re not wrong, it is indeed a plea for privacy, a reminder that privacy, as Eric Hughes said in the CypherPunk Manifesto, is the power to selectively reveal oneself to the world. It is also a way of directing attention, especially in live performance, to what matters, which is listening and the deep experience of immersion in sound. I’m not interested in people paying attention to how I move certain controls on the hardware I use live.

IA: I want to talk about the idea of ​​creativity as a refuge of freedom. Do you think that the act of creating can be a form of resistance in a world so full of attempts at control and loss of freedom? How do you experience this when you compose?

We would have to define first what you mean by “resistance”, but for me it is a kind of silent persistence: staying focused on essential values ​​like freedom, authenticity and personal exploration, especially when the world tends to push us towards conformity and productivity without question. Creating, in this context, becomes an act of resistance because it involves devoting time, energy and emotion to something that is not necessarily measured by conventional standards, but by its capacity to open horizons and question the established order.

It is a reminder that there is more beyond what is handed to us. It is also a way to protect spaces of thought and emotion that are increasingly colonized, manipulated and exploited by corporations, lobbies, governments and advertising. It is not easy to devote time to these issues, but for those of us who were born with a desire for freedom and tend to question everything, it is our path.

IA: I’m intrigued to know what your creative process is like when composing?

My composition process is quite personal and I think it will be difficult for me to explain it because it does not always start from a preconceived idea or a linear methodology.

For me, what motivates me the most is my drive, and I say drive because sometimes ideas, thoughts, emotional states, ultimately manifest themselves as an impulse to act. It is an impulse to discover and experience sound experiences that I have never heard before.

Sometimes the process starts with an idea that challenges me to find a way to bring it to reality. Then I look for the starting sound material, which can be field recordings or sounds created in the purely digital realm. 

This triggers a process of combinations and transformations that gives rise to the compositions. 

This would be a very brief way of answering you, because the process can have very different stages and different durations. There are quick processes and processes that can materialize after years. 

From a technical point of view, it would be difficult to explain all the ways of transforming sound once it is in the digital realm. The sound material goes through very unorthodox processes and I always try to explore and let myself be carried away by that impulse of discovery and play. I try to eliminate the analytical mind, although I use it for help, but I try to give it its space and in some initial stages, my sense of personal aesthetics is the guide, without interfering in the discovery process, but rather participating above all in the phase of giving it final form and in the choices I make in that regard.

IA: What you describe reflects an intimate and organic connection with the act of creating. That idea of ​​following an impulse, which arises as a need to explore the unknown, resonates deeply with the very nature of creativity.

The interplay between intuition and the analytical mind that you mention is particularly interesting. You seem to be describing a kind of dance between two poles: the instinct of exploration, free of judgement, and the subsequent moment in which your personal aesthetic sense intervenes to give shape and coherence to the final result. It is almost as if you allow the sound to guide you first, and then decide how to frame it.

I’m curious: how do you balance those moments of pure discovery and play with the need to finalize a piece? Do you often find yourself struggling between leaving a composition open-ended or giving it a definitive structure? And do you feel like the final aesthetic is more reflective of your initial impulse or is it something that evolves with the process?

These are good questions that require some thought when verbalizing them, since most of the process involves different parts of the brain. 

I believe that my meditation and mindfulness practice has allowed me to self-observe mental phenomena and be aware of my internal processes, but on the other hand, in the creative process, there is a work of interaction with machines and here the thing becomes a collaborative process, it works as a complex adaptive system that involves something more than oneself. 

Each step opens up a new set of paths and possibilities to decide on. There is always an opportunity cost involved in that creative process. There are times when the potential randomness when the sound material is processed gives rise to new scenarios to continue working on and other times the results are not what I expected and I decide not to continue down that path. 

The incredible tools that technological development has brought us and the possibility of practically infinite processing often require, in my case, decision-making to limit and delimit when giving final form to the compositions, although I do not usually impose limitations on myself in this regard either. 

The flow of ideas that are created based on the results and the different processes is so broad that many times I need to make decisions to not lose interest and finally give up. 

I remember a quote that Miles Davis seems to have said to John Coltrane when the latter told him that there was so much going on inside him that he found it difficult to stop playing his solo at times. Miles said to him: “Take the fucking sax out of your mouth and you’ll stop.” Sometimes it’s just this: That’s the end of the speech for now. 

As to whether the final aesthetic reflects my initial impulse or is something that has evolved in the process, I would say that it is almost always, if not always, a completely different place than where the composition usually ends up. But I eventually arrive at something that I am usually fairly satisfied with at that point. 

Later, outside the composition process and when I dedicate myself to listening deeply to the composition, many other things can happen that alter my initial idea of ​​what I have achieved. The process seems to be closed if I do not touch the composition anymore, but at the level of perception and listening, the experiences are never the same or closed. But this is part of the process of continuous change that is in all the material that makes up reality, so we never experience anything that happens to us from the same place.

IA: What you say seems to me to be a very honest and profound description of the creative process, which is neither linear nor definitive, but rather a constant dialogue between intention, tools, and the chance that arises along the way. This idea that every decision in the creative process involves an opportunity cost is key. In essence, choosing one path means giving up on others, and that is not only inevitable, but perhaps one of the most beautiful tensions in the act of creating. As you say, modern technology offers such vast possibilities that it almost becomes necessary to set limits to avoid getting caught in an endless flow of options. It’s funny how something so expansive can also require containment.

What role does the listener play in your work? Do you think about the experience others will have with your music while you’re creating it, or is that something that comes later, when the work is done? How do you manage that connection between what you want to express and what others can receive?

I don’t think at all about what others might experience when exposed to the sound experience of my compositions. 

How would I know? 

I would like it to be a transformative experience in some way and positive for others, but I know that it is not up to me. In fact, I am not interested in directing that experience in any way. 

I am not a guru and I do not intend anything in particular with this beyond what I say. I want to let each person discover for themselves what it brings to them. 

One of the experiences that has stayed with me throughout my life was a “concert” or “performance” – I don’t really like these terms, but for the sake of understanding – by Asmus Thietchens. 

That concert continued its effect on me in a much more intense way in the days, months and years after the event itself. It changed me completely in many areas of my life. This is what I would like my compositions to be able to contribute to others, to influence them to be more free in their lives and to be able to also express themselves more freely and develop their creativity. That we become less judges and free ourselves from preconceptions and allow ourselves to expose ourselves to the life experience with more intensity and fewer barriers and judgments.

Your approach to the listener’s experience is deeply liberating, both for yourself and for those exposed to your music. The idea of ​​not directing the experience, of not trying to impose any interpretation or purpose, resonates with an absolute respect for the listener’s freedom. 

In the end, as you say, it’s impossible to know how each person will receive what you offer, but what you can do is create a space where that freedom and exploration is possible. There are no expectations or guidelines; only the possibility for each individual to approach the work and allow themselves to experiment without judgment, in their own time and in their own way.

Do you feel that your music is a way of freeing yourself from certain preconceptions, even within your own art? How does creation impact your own process of self-exploration and expansion of the mind?

My main motivation is to create sound environments in which I can launch myself into exploration and deep listening to live new experiences that transform me personally.

For me, who has experimented with many substances that expand perception, music, or rather sound, is my way of producing enriching experiences for myself. For me, it is very liberating and necessary in my life. Music and sound are, by conscious decision, the medium I prefer to be freer.

It will continue…