This work is a collection of lines that flow and halt, twist and turn, run and pause, squeeze, and stretch. While these motions are predetermined harmonically through definite pitches, much of the piece's journey through time is to be interpreted by the performer. As such, the performer is invited to express much of their own sensibilities of time into the piece, in direct correlation with the characteristics of the instrument at hand.

In part, this is a reaction to a performance of an earlier piece for carillon, in that instead of being specific with aspects of time like tempo and note values, the composer submits himself to the majesty of the bells and to the sensitivity of the carillonneur who has mastery over it. The performer can play the 'free' sections as slowly as he or she may prefer, creating their own impressions of what constitutes as stress and space through the sound of their carillon.

The play of lines, the surrender to immutable, natural forces (in this case, the unique character of each carillon tower), and the general fluidity of the piece is evocative for the composer of the imagery of standing by the sea and feeling light gushes of wind brush against his body – often capricious, but always organic.

—Jose Antonio Buencamino