It takes time to develop one’s artistic growth path. The result is often an identity, a way to make oneself known through qualities that identify one’s role over time. An excellent example of what has just been stated comes from the American composer, flautist and performer Natacha Diels (1981), who at the beginning of this century made her debut at the main contemporary music and electroacoustic festivals after founding the Ensemble Pamplemousse; Diels was interested in fusing music and technology, and the first phase of her path was characterised by a virtuosity capable of involving strange elements of sound attraction with the use of tape, very dense granulations, interaction, performative lasers, up to sampling and the use of the disklavier (1). Diels was also collaborating with Tall Brown Boots, an improvisational collective with theatrical leanings, an initiative that likely marked the beginning of her interest in choreography and an interdisciplinary practice where music merges with visual art. From 2014 onwards, Natacha also began producing music with video animation, adopting a new concept of dynamic collage between text, images, and music. Elpis, a 2016 composition for ensemble with assistants and video support, is a good example of
