It is of a certain regard that french philosopher Jacques Derrida didn't accept to be photographed until 1979, at the age of 49. By the way, few years before his death in 2004 he agreed to a movie almost fully centered on his own figure. "Derrida" by filmmakers Kirby Dick and Amy Ziering Kofman, 2002, put an eye on the philosopher in the attempt to discover the man and close the circle. Showing from everyday life to symbolic episodes such as the visit to Mandela's prison, conferences and teaching activities as well as private camera-talks, the movie (re)presents the algerian born thinker as a person and not only as a philosopher. But there is an unpredictable depth in Derrida's eyes, enigmatic as his writing, glances that cross the evidence, always mesmerising and not analising. The soundtrack composed by Ryuichi Sakamoto was not inspired by this everyday person, neither by his books. I think he pointed exactly at his eyes. Aware of the limits of language Sakamoto displays only small and penetrating sound portraits, sharp forms of conversations without words, beyond human language and its duality. The result goes far beyond the soundtrack role itself, fully responding to a listening-only experience and at the same time improving so much of the focus searched in the movie. Divided into 29 tracks engineered by Fernando Aponte and published by KAB America, this record presents Sakamoto at his best, a passionate scientist and a cold lover, electronic, acoustic and acousmatic. Mainly worked on piano solo and effects balancing, with the precious collaboration of Phil Romano as piano-tuner, it also includes concrète materials, worked with a cut similar to Akira Rabelais' Satie re-treatment. Tracks from a fluid approach more than a deconstructured process. Luminous connections for enigmatic traces.