Section 2 is divided into fifteen subsections, some of which overlap. When a new subsection (N) has already begun while the previous subsection (P) is coming to an end, the letter ‘o’ (overlap) is used next to the subsection (P) end time indication to clarify that a new subsection has already begun. Simultaneously, when a new subsection (N) begins before a previous subsection (P) ends, the letter ‘ω’ (omega) is placed next to the subsection (N) start time indication to clarify that, even though a new subsection has begun, the previous subsection is still audible. The letter ‘c' is placed next to the subsection (N) start time indication when the sound event of a new subsection (N) is a continuation of the sound event of the previous subsection (P), with no observed overlapping. The abbreviation ‘σ’ (meaning, to be continued) is placed next to the end time indication for subsection (P).
The transformed floghera textures in Section 2 are classified into four types: 1) static drones superimposed by birds’ soundworlds attacks–onsets (high-pitched sounds/fast-speed movement); 2) static drones superimposed by birds’ soundworlds attacks–onsets (low-pitched sounds/slow-speed movement); 3) static drones superimposed by birds’ soundworlds attacks–onsets (high-pitched sounds/slower-speed movement); and, 4) static drones superimposed by birds’ soundworlds attacks–onsets (high-pitched sounds/moderate-speed movement).
Subsection 1 (11:50 – 11:56). Transition between Section 1 and Section 2; spectral emptiness; static movement; allows the work to breathe and proceed to Section 2. It allows for the gradual implementation of a completely new soundworld environment.
Subsection 2 (11:56 – 12:08). Transformed floghera bird-like textures.
Subsection 3 (12:03ω – 12:14). Water textures.
Subsection 4 (12:14 – 12:41). Rain falling on dry leaves (foreground) / subtle continuous floghera sound with superimpositions of transformed bird textures (background).
Subsection 5 (12:41 – 13:03σ). Church organ upbeat steps, transformed sound textures (smooth anacrusis) leading to whistling-sound shapes emerging from transformed church organ textures that gradually fade-out while subsection 6 is already underway. The transformed floghera textures are still present and gradually become more noticeable (from 12:43 onwards) as they serve as the foundation for subsections 6: (12:49 – 12:56) and (12:58 – 13:01). Owl-like sound textures. 
Subsection 6 (13:03c – 15:57o). Transformed floghera sounds with a high proportion of low-frequency material: (13:09 – 13:14). Slow motion owl-like sound textures at low frequencies. The main sound is spectromorphological emptiness, with occasional smooth high-pitched floghera soundworlds layer additions. However, spectromorphological plenitude is not achieved in this subsection because the smooth high-pitched floghera layer additions revert back to spectromorphological emptiness. Smooth spectral fluctuations are defined as gradual transitions between spectromorphologically empty and slightly more filled-up spectral spaces, and their duration ranges from one second (instant) to a few seconds (continuous). This subsection is enhanced by smooth spectral fluctuations (e.g., 13:29 (instant) and 14:19 – 14:25 and 14:50 – 14:55 (continuous)), adding an element of suspense/expectation. Low-pitched sounds dominate. This subsection was created to contrast with the following subsection (9) which contains higher-pitched transformed floghera sound textures with spectromorphological plenitude.
Subsection 7 (15:10ω – 16:07). Dry wood crackling sounds (natural/unprocessed) and floghera fadeout. This subsection reintroduces the wood crackling sounds from Section 1 in their natural form, with no transformations. This subsection is distinguished by structural stasis (created by repetitive wood crackling sounds of similar volume level and occupancy in spectral space), with intensity increasing each time a wood crackling sound event is presented. The introduction of subsection 7 shows cyclic motion through repetition (15:27 – 15:36). The sound of a dry branch hitting a group of dry branches in equal time intervals was captured during the recording process in Entwistle Reservoir for this part, to imply inherent energy.
Subsection 8 (16:07 – 18:24σ). This is the only subsection made up of micro-chaotic spectromorphologies:
- Scratching (16:11 – 16:55). 
- Crackling in gelatin is presented alongside scratching sounds.The word “gelatin” refers to the fact that the sounds appear to be moving within a space filled with a dense liquid (16:27, 16:33, 16:37 – 16:40).
- Crackling from the inside (16:44 – 16:49).
- Slippery /dinging microelements (rapid motion) (16:54 – 17:02).
- Divergence/Convergence and simultaneous linear ascent/descent (17:02 – 17:07).
- Smooth Anacrusis (16:50 – 16:54) leading to the rapid motion of the slippery/dinging microelements (16:54 – 17:02).
- Smooth water drop texture (17:20 and 18:00).
- Pointillistic ticking sound events in non-rapid motion (17:18 – 17:19).
- Friction/Resistance (mutually rubbing spectromorphologies) (17:32 – 18:00). These spectromorphologies exist in tandem with other layers.
- Ascending contour (17:44 – 17:50 and 23:59 – 24:07).
- Descending contour  (17:15 and 17:24, 17:46 – 17:47  and 23:50 – 23:56).
- Ascending bubbling spectromorphologies. Because these do not sound like water bubbles, this term simply refers to their movement (17:49).
- Pitched drops (17:54).
- Static smooth background pitched layer (18:05 – 18:08 and 18:12 – 18:20).
- High frequency resonant throw/fling (18:22).
Subsection 9 (18:24c – 23:37o). A significant subsection of Section 2 and the one with the most spectral space occupancy. The transformed floghera material sounds like a mix of birds and mysterious voices. Furthermore, the bird-like textures inform the listener about the location (place/space) and represent mythological action (Sirens’ voices). The floghera textures are distinguished by their high spectral density and extended continuants. The superimposition of higher frequency fading in and out in rapid motion over the high spectral density floghera spectromorphologies of extended continuants creates resistance as well as bird-like textures/Sirens voices. Exogeny is caused by the superimposition of higher frequency floghera textures in rapid motion, which results in spectral growth by adding to the exterior (e.g., 19:35 – 19:56).
Subsection 10 (20:15ω – 20:37σ). The gradual appearance of water textures in rapid motion, which leads to subsection 11. This lays the groundwork for the reappearance of Section 1 rapid motion spectromorphologies in subsection 11.
Subsection 11 (20:37c – 23:03σ). The reappearance of rapid motion spectromorphologies from Section 1. These spectromorphologies are the result of a series of superimpositions of various layers from Section 1. Because of the direct reference to material used in Section 1, this unifies the piece as a whole. Furthermore, floghera soundworlds from subsection 9 remain present but gradually fade out (dissolving). The rapid motion spectromorphologies of Section 1 and the floghera soundworlds contrast. Section 1 spectromorphologies become significantly sparser towards the end of this subsection, as they are superimposed over high frequency floghera spectromorphologies. This causes a counter-endogeny (deflation) in the textural motion (22:55 – 23:03).
Subsection 12 (23:03c – 23:33). The final appearance of floghera sound textures. The characteristics are the same as in subsection 10, but the volume level is lower in this subsection.
Subsection 13 (23:33 – 25:27σ). This subsection begins with the application of the characteristic slippery/dinging spectromorphologies (23:32 – 23:50) which were previously presented (16:54 – 17:02). Micro-textures from Section 1 and Section 2 subsections can be observed: repetitive dry pointillistic ticking sound textures in rapid motion from Section 1 (24:06), and pointillistic ticking sound events in non-rapid motion from Section 2 (24:07). This subsection is characterized by ascending and descending textural motion (e.g., descending 23:50 – 23:55 and ascending 23:59 – 24:06). Dry unprocessed crackling wood sounds can be heard from 24:11 – 24:28. Background piano soundworlds with no attack – onset (e.g., 25:03) create a feeling of release while smooth background textures from Section 1 are explored.
Subsection 14 (25:27c – 25:38). A brief subsection characterized by spectromorphological emptiness, with soundworlds from Section 1 heard in the background at a distance. This subsection leads to Subsection 15 which is highly contrasting.
Subsection 15 (25:38 – 27:00). The work’s conclusion made use of superimposed material from the entire piece. The use of processed church organ intervallic pitches (25:40 – 25:50) creates dilation (becoming wider or larger) and contraction (becoming smaller, 26:05 – 27:00). The beeping sounds that appeared at the beginning of Section 1 reappeared near the end of the piece (26:39 – 26:47).
In terms of structure, both Section 1 and Section 2 have the following sound objects in common: water soundworlds (e.g. Section 1: (1:37 – 1:38), 1:39 and 2:06 and Section 2: 12:04 – 12:14), bell sounds (e.g. Section 1: 3:03 and Section 2: 26:00), beeping sounds (e.g. Section 1: 0:19 – 0:56 and Section 2: 26:39 – 26:47), dry crackling wood soundworlds (e.g. Section 1: 4:36 – 6:05 and Section 2: 24:11 – 24:28) and repetitive dry pointillistic ticking sound textures in rapid motion (e.g. Section 1: 1:22 – 1:27 and Section 2: 24:06). On the other hand, the following sound objects are only present in Section 2: floghera textures (18:30 – 23:30), pitched drops (17:54), transformed church organ soundworlds (25:40 – 25:50) and slippery/dinging microelements (23:32 – 23:50). In addition, in Section 1 only, stone soundworlds are present (e.g. 3:18 – 3:27), as well as guitar sound objects (e.g. 3:46) and dry wood sound objects with pitched resonance applied through Cecilia’s Harmonizer Module (e.g. 0:50 – 1:07).
 Rhythmic sound textures comprised of a short-duration repetitive inharmonic sound element. Textural motion is used to distinguish each element. These textures are strikingly similar to owl soundworlds.
 Soundworlds characterized by reciprocal motion. These soundworlds appear to be dragged onto a dry surface.
 Flocking with a hint of resonance.
 The inverse of ascending contour (downward motion).
 Present at the same time as the ascending contour (17:44 – 17:50).