Just Intonation epitomises the long research that Masque carried out on Franz Kafka, through the theoretical diagram by Gilles Deleuze. Our new work Just Intonation drops the machines of The Kafka Machine but retains the animal component… waiting for the danger to materialise. Two destinies are at the centre of the story: the destiny of the instrument and the destiny of the figure. There are still the body and the movement who make the form imperceptible. Now, the scene is able to reflect a secret. The secret works in a complete visibility, due to the reproduction of abstract and animal figures that create the effect of something hidden. The body-woman is becoming-secret, hiding nothing, by means of innocence and precision, even at the cost of a frightful technicality.Just Intonation is a work of decoding. The pianist who doesn’t play creates sound by not playing and its musicality is spread in the whole body insofar as it doesn’t utter any music. Everywhere, music is crossed by an abolition line, as language draws sense from an accidental line, in order to free an expressive living substance that speaks by itself and has no need of moulding. In other words, here the sound doesn’t appear as a form of expression but as an “unmoulded substance of expression”, fed by desire, which is a development, a process. Only then it will be able to fight with the weapons at its disposal: sound powers, acoustic impacts and memory acuphens. Just Intonation is a sound body. We move away from the melodic horizontality heading for harmony and long silences: a verticality of glissandi on intensity and frequency, a slight progression with a rhythm broken when originating a body-sound, without any appendage or prosthesis.