This proposal is about a musical performance by Claudio Merlet, which presents the final result of the author's investigation and technical-musical developmental process aimed at the creation of an electronic interface, one that—through digital programming, DC motors and its own mechanism to attach itself to an original acoustic string instrument—allows for unnoticed aesthetic and theoretical possibilities. This is a musical proposal that lives in the limit between the academic and the experimental, between the elitist and the underground, between science and art, between human and machine.

The music created through this interface generates (curiously, due to the technology involved) sonorous textures similar to the ones developed by native cultures of different parts of the world. For example, some isolated regions of the Philippine Islands (Turgao, Kalinga), or Mexico (Rarámuri and Chihuahua cultures). These sonorities can be related not only by the timbre of some aboriginal instruments like the Mexican Chapareke or, particularly, the Kulibet and Kulesing of the Philippine Islands (both plucked-string instruments), but their performance's style which generates percussive rhythmic-melodic variations quite similar to the ones Claudio's interfaz/instrument is capable of. This may be due to the fact that the interface, its electromechanical adaptation system, and the acoustic instrument itself, were conceived from a piece of written music whose nature was directed precisely to a more organic search for the sound. At the same time—and for the same reason—it is easy to equal this musical search to sonorous experiences related to the active listening of nature: sounds of the forest, rain, or the sea playing with the sand on some beach. However, these are not the only possibilities of the interface, as it is also possible to find sonorities much more complex and experimental.