It’s a beautiful, sunny morning in Barcelona when I head to the latest presentation of Issey Miyake parfums. At the Camps Elisis space, I find myself surrounded by friends and colleagues like ceramist Valeria Vasi, dancer and choreographer Carla Cervantes, photographers Coke Bartrina (who shot the campaign of L’Eau Super Majeure d’Issey) and Alba Yruela, or designer Max Enrich. We’re there to discover how, once more, nature informs the work of the Japanese genius.

After a lovely introduction by Esperanza Pintado, who guided us through the behind the scenes of these perfumes and even explained a funny anecdote about samurais landing in Spain a few centuries ago, Playtronica went on to perform. Seeing them live is as shocking as it is poetic; first, you don’t really understand where do the sounds come from, and you’re even worried to see electric cables touching water and you just hope they don’t get electrocuted. But as the act unravels, you get more and more hypnotized by the beauty of the sounds, of the movements, of the subtleties of their work, of their infinite creativity and innovation.

When they finished, they let us try some of their devices. Through them – Touch Me and Playtron –, the team at Playtronica is able to make anything sound – from food to plants, to everyday objects and human bodies. But not with percussion, which is the most instinctive sound; they use the electricity our body produces to connect everything together. A caress on the neck turns into a high-pitched melody; playing with each other’s fingers turns into something more fun and rhythmic. And you’re just in awe. After falling head over heels with them, we interview Sasha Pas, the founder of Playtronica, to discuss the importance of education and real connections, the different meanings of ‘touch’, and the future of technology.