At first, the idea that led to this book was to make a film in which the viewer could see the relationships between my friends and me through the projects we’d done together, documenting the reflections, procedures, conversations and experiments that we sketched out about sound, art and music. The cameras were to capture such premises, that is, all those frequently failed adventures that led us to discussions, arguments, reconciliations and other emotions, through that strange urge to mix work with friendship. However, as I believe that making a film is something like an overwhelming condition, I preferred to step aside, and as I distanced myself I observed how that first idea also moved away with me to mutate into an increasingly internal landscape, which gradually turned into this book.
The Conveyor Belt brings together a selection of projects I carried out alone or in collaboration between 2003 and 2013. The texts were written with the experience of the production of those projects in mind, the catalysts, initial references and starting points of each of those works. Attracted by the idea of an orchestral book, where two or more voices move autonomously, I decided that as well as my own voice, the book would feature those of the friends with whom I’d collaborated over the last decade, sharing their view of events, with their voices being heard over the course of these pages.
Finally a third voice emerges from an analysis outside of the construction of the work: the critical and fictional texts that accompany this edition thus contribute a fragmented, external perspective, independent of the work process. My intention is that this book should be taken not as a museum catalogue or as a random collection of my projects, but as a work in itself, in which all the images, words and resonance that make it represent points of access to a body of work in which they are all interrelated to create a new collective and individual sound and reading adventure.