The last five bars of Scelsi’s 4. string quartet (1964) worked as a trigger for a particular quality of sound I wanted to investigate and develop.  The whole piece is intended as a sort of “restoration process”, metaphorically removing rust (it. ruggine) and erosions from the acoustic material. The electronics is made almost entirely of small machineries, rusty objects, spinning wheels, springs, dental drills (…), sampled and reworked in broken pulses, nestled in the string quartet’s patterns (or vice versa?).