"[1] On more recent Sandoval's work, Davood wrote: "[...] Each piece, whether sound or video art, music composition or intricate drawings, reflects an artist who is as much a global citizen as he is a silent observer of the internal human odyssey".
'),[4] "Empathy and Subjectivity" (the subjectivity of others, as well as our intersubjective engagement with them),[5] Evidence ("the successful presentation of something whose truth becomes manifest in the evidencing itself"), Intuition ("...having a cup of coffee in front of you, for instance, seeing it, feeling it, or even imagining it: these are all "filled intentions", and the object is then intuited") and Intentionality of consciousness ("the power of minds to be about, to represent, or to stand for, things, properties and states of affairs"[6]).
A number of out-of-catalogue pieces also belong to this stage: In 1991 Sandoval met Conlon Nancarrow and began work as his assistant (1991–94).
Besides this, it took Sandoval almost four years to assimilate and synthesize the influence of both Estrada and Nancarrow, apparently the polar opposites of one another but in fact both belonging to a Cartesian, rational, object-oriented way of thinking.
[14] Between 2002 and 2003, just prior to relocating to Germany, Sandoval published two of his "manifestos": "Imaginación, análisis y posmodernismo"[15] and "De la fenomenología al ejercicio estético, o una apología del cinismo".
Jean Piaget's theories of language as an object and the cognitive inability to distinguish the external world from one's psyche, still have a strong influence on Sandoval's work.
His work incorporating living trees, accelerometers and hands equipped with tactile sensors is based on random-picking software, and adds a mystical quality to the otherwise objective process of transduction of physical phenomena.