This album is also a first attempt to capture the process of reflection in which we are in antropoloops in recent times, questioning and trying to deepen in the political nature of the archive we work with; and in its theoretical and practical genesis. An attempt to understand the cultural, political and epistemological context in which the musical sources we work with arise and are distributed.

One of the fundamental axes of the academic work of researchers in the field of folklore in the last two centuries has been the search for the origin. The origin of cultural "things" spoke of their true essence and purpose. The rhetoric of the authentic has articulated the genesis of the scientific fields of the study of culture (folklore, anthropology, ethnology, ethnomusicology).

As Regina Bendix (1997) argues in her book In search of Authenticity, "the continuing yearning for experiences of unmediated authenticity seeks to reduce what Rousseau called 'the wound of reflection,' a reaction to modern demythologization, detraditionalization, and disenchantment."

The corpus of traditional music recordings reflects Western humanism, but is also woven and crisscrossed by paternalistic and colonialist logics; such as the bourgeois idealization of the music of the people but without the people at the origin of the modern state in Romanticism, or the reinforcement of this Western identity through the construction of the ethnographic other in the colonialist framework. Any field recording of traditional music has behind it a dense history of relationships, layers and layers of events that vibrate behind the listening.

These stories about origins (etiologies) are still with us in the collective imaginary, the market has embraced them as the basis of consumption and cultural tourism; and unfortunately, we are witnessing the resurgence of identity rhetorics that replay the darkest history of the twentieth century.

The richness of the musical cultures around the Mediterranean, or the sea of many names, can only be understood as the fruit of migrations, diasporas, travels and exchanges throughout its history. At a time of identity exaltations, it is necessary to take a broad view, since the unique and extraordinary always emerges from the mixture. Authenticity as a claim is synonymous with musical myopia.

The text of Mix Nostrum is conceived as a story, of remixing and about remixing, that accompanies the musical pieces of the album and its collages; a metaphorical and imaginary story about the modern search for the origin and authenticity in traditional music. In the text, the script of Chris Marker's La Jetée (1962) has been sampled, using it as a modified starting point and background framework, shifting its content from image-film to music-mix. The traveler's experiments structure the music of the disc and build a narrative about the sources used in the remix and their possible connections (musical, pictorial and textual).