Sekhem started with ISOTROPIA, when Edu Rubio redesigned the instrument used for ceremonies in honor of the Egyptian Goddess Hathor, taking it out of its original context and function. From this point, the sekhem becomes a vibrator in order to provide the sekhem with a new meaning linked to self-pleasure, reclaiming the fact that it used to connote strength before the appropriation of the instrument by the Greek culture when they started calling it sistrum. Appart from that, when eliminating the image of Hathor, the sekhem gains the ability to communicate a message by itself, which -in addition to the fact that the few artifacts we’ve conserved from antiquity remain silent on museum showcases- reinforces the liberation of sound. Moreover, what’s interesting about the sekhem is the way it produces sound, freed from the limits provided by the development of the Pitagoric system. Finally, the decision to use a mirror-finished vibrator intends to reflect the listener, who can at the same time be the player, seeing that the automation of the sekhem wants to lead to a democratization of sound.