Ζεστό δόντι : α
Hot Tooth : αlpha release

The Ζεστό δόντι project aspires towards a paradoxically comforting, hypnotic, arhythmically droned timbral anabasis, a journey upriver to the heart of the blackened sun. This αlpha release captures an unintentional seeding [catalyzed by root canal] of the project across a transition from a palette of sonics mined between 2017-2020, to a new territory of universally scaled gestures and resonances. Future Ζεστό δόντι releases will site themselves ever deeper in the turbulent interface between anabatic and katabatic flows of sound.

The tooth is a capture apparatus, which like Bataille's tiger/time/sex act, sits in the place of dead roads where linear time and chaotic time mix. A fossilized tooth can sometimes be the only durable and surviving artifact casting itself forward in time to provide forensic evidence of a mineralized life lived and that life's consciousness. The relation between the tooth and the mind [sentient, sapient, or thalient...] has not been adequately explored.

Glenn Gould famously opened this territory in his Rolling Stone interview, excerpted below:

"Is there a difference between imagining a total performance of a piece and performing it in your imagination? Were you simply imagining a performance of the piece in your mind?

'No. That is something profoundly to be wished for and not necessarily contradictory to what we’ve talked about, but at a certain point there is an overlap, and at a certain point the overlap ends, and odd bits and pieces stick out, and I think we should define those bits and pieces. There is a difference, and the difference is something like this: I don’t know if you’ve ever experienced it — and certainly they’re not going to try it on me — but some years ago they discovered a remarkable method of local anesthesia which was employed in dentistry, and the method was that of taking the patient who, for some reason, was reacting badly to Carbocaine or zylocaine or whatever-ocaine, and giving him two dials, one of which contained white noise and the other of which controlled possibly a radio or a cassette or record player, on which was a piece of musical information with which the patient was familiar — Mantovani or Beethoven — whatever he knew, it had to be something he could “pull in,” so to speak. Now then, that meant that his reaching out to that thing had to be impeded in some way, there had to be an area of blockage, and that area of blockage was precisely represented by the dial which controlled the white noise. And it was arranged in various ratios, but at all times the ratio of white noise to actual sound had to be in favor of the white noise, so that you had to fight through that sound barrier, quite literally, in order to pull out remnants of a remembered sound. And it was discovered that without exception this was the most effective local anesthetic they’d ever employed in dentistry, in that it had a hundred percent success… except that there were very few people who were willing to have it tried on them [laughing], but it did have a hundred percent success on those who tried it. And the reason I think is quite obvious: because if you absolutely and totally are forced to concentrate on some object that is other than that which concerns you most deeply at the moment, there’s an element of transcendence implied in that concentration.'"


And from a dentist's perspective:
"Achieving profound pulpal anesthesia is a corner stone in endodontic practice and dentistry. Profound pulpal anesthesia during the root canal procedure benefits not only the patient, for obvious reasons, but also the dentist who will be less stressed worrying about patient reactions or sudden movement during therapy. Achieving adequate anesthesia in patients can, at times, be a challenge.

But when one adds the condition of a ‘‘hot’’ tooth,
the challenges increase."