The title alludes to the idea of creating, through the gradual alteration of simple and repetitive elements, a false sense of constant circularity. This circularity, in turn, evokes a gradual but deceptive departure from the original object—resulting in an effect akin to "false perspective." From the outset, the piece establishes the idea of an irregular geometric line, achieved through the constant repetition of certain piano elements, which almost align with a metronomic pulse. This gesture evokes the sense of a sonic horizon that appears irregular and in flux.

The materials are derived from the spectral decomposition of two multiphonics produced by a saxophone, previously used in High Over the Distant Horizon (2018), a work for piano, electric organ, cello, four moving instrumentalists, and electronics. In neither of these pieces is the saxophone present in the ensemble, and although there is no direct allusion to the physical gestures originally used to produce the multiphonics, these elements serve as the foundation for the figural derivations and the persistent ambiguity that oscillates between timbre and harmonic field throughout the work. The formal structure, divided into various modules, reflects the different "states" of the fundamental material and its transformations.