I will be conducting experiments in exploratory, quadriphonic, voice-and-electronics-based improvised music processes, working with extended voice techniques, phonetic non-semantic chanting and asynchronous loop patterns, lo-fi synthesizers, field recordings, and heavy delay and reverb distorted textures. My inquiry is based on the principles of live mixing, the radical exploration of frequency parameters, and the dynamic possibilities of non-synchronized sound sources. In such context, the mixing board is the main instrument for conducting coexisting, floating, colored, and contemplative emissions of time fragments intertwined. I am looking for the simultaneity of times that coexist, collide, and alter each other, opening inhabitable gaps where the present becomes circular and limitless in its translucent stillness. Time as collective memory – non-linear, polluted, and ambiguous – is broken down into plastic matter for the invisible geometry of interchangeable circles swirling in the mix, constituting the here and now of improvisation and performance.