"No Soy Un Robot was composed from February to April 2003 in Monterrey with the pretext of a composing residency in Mexico. The specificity of this city, located just under the Texas US border, encouraged me to further investigate the concept of borders and limitations, and how to cross and finally get rid of them for a trully multidimensional life. Staying away from representational field recordings while using only in situ sound sources, I incorporated all the new sounds and ideas living around my new mexican ecosystem, such as technological ones with the use of a smartphone (that I was finally obliged to get due to the dangerousness of the city), with its sound apps, sound messages and portable recording possibilities or impossibilities. I also played the Kurzweil keyboard that was waiting for me in the flat I was staying, as well as the Moog synthesizer of the university electroacoustic studio.

Mexican border cities are known for their "feminicidio machine", which led me to investigate through gender perspective about the "animality" of human beings by recording sessions with two parrots, themselves seen as terradactyl prototypes of AI and GPT bots, as if gender based violence - GBV - was transmitted through ancient algorithms of men's bestiality. Next to computerised voices fed with different geographical accents in this particular historical moment where bots demand you to confirm by security prompt whether you are human or inhuman and when human beings finally aim to behave like robots, I also wrote a part for the voice of a young mexican countertenor, himself turned into a robot through electroacoustic manipulations.

I wonder if in the future, robots will listen to No Soy Un Robot, this music manifesto for a post-colonial music and an extended (sound) world where animals, humans and technology are seeking for complex critical thinking, tolerance and creative polylogues, engaging human nature far away from its physical frontiers, limits and borders into the territories of autonomy and joy of dissonance." - Frédéric Acquaviva