A cheese grater is being played with a toothbrush. After a while, we completely forget the cheese grater and focus solely on the sound: the continuous fricative noise is colored by mini sparks of high frequencies, short and loud.
With the time, the sound progressively becomes a bunch of confused energy not attached to a specific physical body: it seems that by the act of endurance, the sonic outcome is different from the sounds produced by the same object when in the kitchen. The grater-thing with its metallic perimeter, like a lost map, noe embraces new sounds floating in the sea of abstraction.
Deep listening is in conflict with what the eyes and/or the ears have to offer: is it really a cheese grater or a camouflaged synthesizer? It is known that synthesizers can efficiently produce a broad variety of sounds, and perhaps, following the same logic, they might also change the way they look.
“not what it sounds, the car, the instrument, the voice,
but what sounds as sonic materiality and sense”
S. Voegelin
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The grater brings an aesthetical conflict on stage when not performing “spaguetti” but the most beautiful sounds ever. |
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La râpe à fromage doit être frottée avec un baguette de Triangle/ The cheese grater should be rubbed with a Triangle mallet M. Ravel , L'Enfant et les Sortiléges |