A composer and musician, Mauro Hertig works with music and sound in an effort to create works with a strong performative character, intrinsically linked to the place where they are performed and marked by an improvisational approach. His pieces are open structures filled with found, stolen and contaminated sounds, arranged through what at first sight might appear as an economy of means. In works such as The Great Mirror (2019) Hertig has the performers become the enablers of an encyclopedia, gathering and collecting tones on-stage. Flugmagnet (2017) for ensemble follows a horizontally stretched and very slow upward movement of a single note, receiving interjections and pushes by the wind and percussion instruments—a game principle in the disguise of musical counterpoint. Hertig’s theoretical reflection—expressed through books (such as the recent Listening Analysis – New Tools of Musical Perception)—nourishes an experimental practice in constant reworking. Mauro Hertig is also the author of the soundtrack to Colin Snapp’s film featured at the 58th October Salon. Mainly based on extracts from the Liquid Contra (2018) project, the soundtrack features sounds that hint at relationships between interdependent elements, supplemented by a text read by a whispering voice, taking the listener into the intimate dimension of perfect passivity.