Abstract
Some contemporary art practices base their discursive strategy on the amalgamation or mixture of different artistic media; these media are united and/or blended and thereby produce new aesthetic approaches to be experienced by both spectators and performers. This condition of contemporary art compels critics, historians, or writers to navigate certain unknown waters, delving into languages that are sometimes foreign to the visual arts and proper to other artistic media. In 2017, the sound artist Josep Cerdà, heir and successor to a large extent of the sculptural work developed by the Baschet brothers, was in Bogotá running a creative workshop to build a Baschet-type sound sculpture that was later used to create a sound intervention; this essay attempts an historical and aesthetic analysis based on this intervention. Readers are advised to first view and listen to the sound intervention at the following link in order to understand the development of the essay: https://www.youtube.com/watch?v=4FyYm15xGbs
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