For example, in the interaction mode that works by layers of audio files, it was necessary to recognize by hearing how many layers were being activated. Each layer had to prevent silences in the audio file and differentiate itself in terms of sound, but also interact with the other layers in order for it to be a sound object. In another case, in the section where we worked with eroticism, a variation of the layer mode was used that divided each layer spectrally and assigned a different frequency spectrum to each dancer (we thought of it as a choir: bass, tenor, alto, and soprano). This meant that the file had to contain information without silences in the full spectrum. So we had sounds from different registers in all the layers and what changed from one layer to another were the intensity of these elements and/or the addition of elements with similar features that could make the sound environment denser. We used breathing sounds (recorded by the dancers in the studio), synthesized basses, rattlesnake sounds, high-pitched and continuous metallic sounds, and there was a second section where the bass acquired a pulse that slowly accelerated together with percussion elements and processed voices that also gradually increased their rhythmic density. When composing the sounds, we could try to anticipate the sound result by emulating the dancers and activating and deactivating layers and registers. But when it was controlled by the dancers, the sound composition acquired a different quality because they controlled the intensity, the silences and the spectrum of what was happening at a certain point of the sound objects. In this other dimension of the sound composition, the sound-dance relationships that appeared during the sessions started to model the compositions and their sonic nature through trial and error.