In reflection on the way in which I wanted to visualize alternative mapping, I found myself drawn to mapping that has in part guided and formed the person I am today both consciously and biologically. This manifested itself in an exploration of the ways in which my passions for music, design, celestial bodies, and mycology could be both mapped and deconstructed. The space created by naturecultures has prompted a great deal of intersectionality in both the work I am inspired by and the pieces I desire to create. I was inspired by artists and techniques that combined mapping such as architectural blueprints, spatial mapping, and musical scoring to form cohesive interpretative pieces. To me, this allows viewers to see the universal pattern languages of many different ways in which humans have tried to quantify and comprehend the world and upend it. In my study of composition and my devotion to music, I have dipped my toes into metaphysical musical notation with composers like Mark Applebaum. I have also been interested in how artists create musical scores that are entirely symbolic and are meant to be completely open to the interpretation of the reader. However, this was my first time creating my own musical scoring containing only symbols and expressive pen line work. Through this and the multiple ways I chose to create fungal mapping, I sought to express the intricacy and incomparable nature of plant communication facilitated by mycorrhizal interactions. For me, the natural world is my biggest inspiration for my musical expression; I like to think of neural pathways as well as the transmission of information via rootsystems and fungi as a musical language unto itself. Music as an entity is always evolving and transforming, in alignment with the surrounding beings and environments. How can we rewrite the paradigm of the scientific life cycle and linear growth timeline as a series of cycling communications and musical dialogues, only possible through decomposers? To demonstrate the multitude of ways my experience and passions can be mapped and how they can be mapped congruently my materiality consisted of a paper hardboard collaged and painted as my base canvas, rice paper treated with Baby Oil, and the third fabric layer, both stitched and arranged as a curtain or veil. As mentioned, the hardboard was used as a background which I collaged old Beethoven sheet music upon. The collage was then glazed with tinted gel medium and then buried into the ground for a few hours. Materially, the act of physically burying my work into the ground is something I had never done before yet it was so pivotal both for my creative process and to express the necessity for decomposition and deconstruction for new life, new beginnings, and rebirth. This act additionally connected the elements of musical mapping in the collage and the pen and ink line work on the rice paper, to the mycorrhizal or neural mapping painted in acrylic as well as the root strings hanging from the cloth. My piece having aspects of multidimensionality, varied textures, and interactive qualities was a critical goal to convey a further layer of deconstructure and open interpretation.