This piece is influenced by the writing of Charlie Kaufman, particularly the screenplay Synecdoche, New York. What interests me most about that work is not its visual style, but the way the

script layers personal experience, self-doubt, and shifting identity into a structure that constantly rewrites itself. I wanted to respond to those ideas musically rather than narratively, using

sound to explore how meaning changes when the same material is viewed from different angles.

The piece is organized as a set of movements, each centered on a specific emotional or psychological state drawn from the film. Instead of treating these ideas as fixed characters or stories, I

approached them as lenses—ways of hearing the same musical world differently. The compositional system functions as a framework that allows material to be broken apart, rearranged, and

recontextualized across movements.

The text for the work comes from Raymond Queneau’s Cent mille milliards de poèmes, a book designed so that individual lines can be freely swapped to create an enormous number of

possible poems. I was drawn to Queneau’s text because it mirrors the way Kaufman’s writing treats identity and narrative: nothing is stable, and small substitutions can drastically change

meaning. Using this text allowed me to work with language that is modular and flexible, reinforcing the idea that emotional states and personal narratives are constructed rather than fixed.

Each movement is guided by a small set of text fragments, which shape its pacing, density, and expressive character.