While musicians proceed to construct parts that will only come together as pieces in the editing room, Xavier Braun captures this process which takes registration as material in a mimetic fashion - a documentary that turns to the generation of junks that constantly dissipate their crystallization into a whole, bringing forth a combinatorial logic, an eternal game of divisions, sums, and repositionings. On the other side of this duplicity, composition finds its home in a space dear to cinema - both in its present moment and in its origins: the crossroads that is assembling a form that supports the univocity of the instant - the continuous passage between jointing and documenting. A form that crystallizes through the capture of the tactility inherent in each material eventually realizes itself in the act of creating a species of sound library which only retrospectively forges minimal connections that can manufactor the self-luminosity of each element. Here, composition becomes the documentary of a sound. Musical composition being guided by the principle of montage and editing centralized in the amplification and systematization of the gesture, QUIPROCÓ has at its core the thread that traverses both the making of  both cinema and music: the space of memory formed through the succession and juxtaposition of things in time.