A concept invented by the German biologist and philosopher Jakob von Uexküll, theUmwelt (or proper world) designates all the semiotic processes (creators of "meaning") of an organism.
The proper world of an organis m is therefore the sum of the experiences of its functional parts that allow it to apprehend the world (our five senses for the human being). To survive, each of these functional parts must act in concert. This common experience, specific to a given species, is called the collectiveUmwelt. If something disrupts this unified worldview, the organism will be directly affected. When these perceptions are synchronized, the organism develops goal-directed actions and intentional behaviors.

The mixed piece (in deferred time) proposes to establish a relationship between different acoustic environments, that of the instrument - in this case a percussion ensemble - and of the electronics (synthetic sounds).
The proximity of the listeners to the unamplified acoustic sources implies a particular and privileged listening position. The search for a symbiosis (mutualistic as well as parasitic) between the different sound spaces is the main issue here. The fact of establishing a link between the synthesized sounds (analysis of their morphologies) and the resonant body of the drums in its own space (unamplified) can give form to the exploration of a dilated time and thus make sensitive the smallest degree of change between a gesture and a sound. In addition, the vibratory loudspeakers applied directly to the cymbals or the skins enter into resonance with the instruments, freeing themselves from the musician's gesture.

We wished to approach the composition in a suggestive way in order not to give a simple illustration to concepts charged with our own projections. For that, a particular attention is brought to the phenomenology of the perception in the relationship which the listeners maintain with the device of diffusion (Position of listening). These compositional processes (linked to accousmatic music in a general way but also to certain preoccupations of spectral music) allow us to approach music outside of any a priori defined structures.
It is thus an organic approach of the form by self-engendering of the sounds, where the attentive observation of the phenomena is mixed with the contemplation of the living. An attitude which consists, finally, in constantly modifying one's own points of view on the world.