The first approach was to look for sound structures with the intention of visually recording them on a map. However, I soon realized that this undertaking was not feasible due to the erratic flow of movement that characterizes the port city.
Thus, by mixing the acoustic, cultural, physical, geographic, and architectural features of the city, I came up with the idea of distinguishing three sound zones: the first, where the sea is strong and dominant, which I called pure chaos; the second, down in the city, downtown, where urban sounds prevail, which I called organized noise; and the third, on the hills, where a general silence is sometimes interrupted by strong noise, which I identified as silent chaos.