From my experience as a music archaeologist, I believe there are two surlógicas. One that existed before Columbus, in which everything followed a self-coherent, self-powered logic in continuous ecological change according to its own parameters, like everything in nature; and another that emerged afterward, when things collided that had never collided before, and which produced a power imbalance that tried to push this primordial logic towards disappearance. Today we are witnessing the agony of this madness, the emergence of those balances of a new surlógica. Instead of fighting for survival, the heritage of this vernacular logic finds its balance, its mixture, its ch’ixi, its coexistence, its transformation and sublimation. Sound has always formulated this dialogue-encounter, from the birds and the winds, from motors and inventions, from guitars and flutes. This sound transit is less violent than the transit of the logics of power that have taxed a logic of “for reason or force” as a political lock to our thinking. Sounds circulate more freely, they move through parties, drunkenness, encounters, oftentimes meeting oblivious to that logic of power. That is, precisely, its power.

Transduction, I would say, is a new dress for what has always been spoken about. First, it was mestizaje that tried to view globalization with the dissolution of ours in modernity, and later the reaction of champurria, of ch’ixi, of kiltro, of chimuchina, that mix without mixing, that pile up without classifying, that add and distribute through unimaginable modes, that accumulate contradictions as the norm. Everything depends on how you understand transduction. If it encompasses all these contradictions, it’s a new dress for many things; if you understand it only as coming and going, it is a new dress for what has always occurred; but transduction has wanted only to be seen as a coming, not as a going.

The "altered state" could be seen as the "natural state" with which we reverse the problem. That's how many shamans view it and how I see it when I play with my grandchildren (before they become adults). That inversion also alters your question; maybe sound helps us penetrate in strokes of that reality what we've lost "from sight" (how absurd) and it returns us to connect with the primordial, before we were humans, even before we were living beings. But as we are complex, my perception of this state is very personal, non-transferable, and at the same time it's the best expression of the current me, an individual connected to the universe. At the end of the day, for us, urban, disconnected, self-absorbed, "the altered states of consciousness" often confront us with the abysmal reality in which they are part of a whole, and for us, that abysmal wonder is enough. That double "function" of that state is the most real: on the one hand, it universalizes, or, better said, diversifies that experience towards the rest of existence. On the other hand, it empowers the center-me as the only possible transductor.

I think our improvisation is part of a process that is occurring in society, which allows for new forms of communication to come and go. Not from the logical platform (coming and going of news or speeches), but coming and going instantly, through intuitions that are faster and more accurate than logic.