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Presented at CHI 2012, Touché is a capacitive system for pervasive, continuous sensing. Among other amazing capabilities, it can accurately sense gestures a user makes on his own body. “It is conceivable that one day mobile devices could have no screens or buttons, and rely exclusively on the body as the input surface.” Touché.

Noticing that many of the same sensors, silicon, and batteries used in smartphones are being used to create smarter artificial limbs, Fast Company draws the conclusion that the market for smartphones is driving technology development useful for bionics. While interesting enough, the article doesn’t continue to the next logical and far more interesting possibility: that phones themselves are becoming parts of our bodies. To what extent are smartphones already bionic organs, and how could we tell if they were? I’m actively researching design in this area – stay tuned for more about the body-incorporated phone.

A study provides evidence that talking into a person’s right ear can affect behavior more effectively than talking into the left.

One of the best known asymmetries in humans is the right ear dominance for listening to verbal stimuli, which is believed to reflect the brain’s left hemisphere superiority for processing verbal information.

I heavily prefer my left ear for phone calls. So much so that I have trouble understanding people on the phone when I use my right ear. Should I be concerned that my brain seems to be inverted?

Read on and it becomes clear that going beyond perceptual psychology, the scientists are terrifically shrewd:

Tommasi and Marzoli’s three studies specifically observed ear preference during social interactions in noisy night club environments. In the first study, 286 clubbers were observed while they were talking, with loud music in the background. In total, 72 percent of interactions occurred on the right side of the listener. These results are consistent with the right ear preference found in both laboratory studies and questionnaires and they demonstrate that the side bias is spontaneously displayed outside the laboratory.

In the second study, the researchers approached 160 clubbers and mumbled an inaudible, meaningless utterance and waited for the subjects to turn their head and offer either their left of their right ear. They then asked them for a cigarette. Overall, 58 percent offered their right ear for listening and 42 percent their left. Only women showed a consistent right-ear preference. In this study, there was no link between the number of cigarettes obtained and the ear receiving the request.

In the third study, the researchers intentionally addressed 176 clubbers in either their right or their left ear when asking for a cigarette. They obtained significantly more cigarettes when they spoke to the clubbers’ right ear compared with their left.

I’m picturing the scientists using their grant money to pay cover at dance clubs and try to obtain as many cigarettes as possible – carefully collecting, then smoking, their data – with the added bonus that their experiment happens to require striking up conversation with clubbers of the opposite sex who are dancing alone. One assumes that, if the test subject happened to be attractive, once the cigarette was obtained (or not) the subject was invited out onto the terrace so the scientist could explain the experiment and his interesting line of work. Well played!

Another MRI study, this time investigating how we learn parts of speech:

The test consisted of working out the meaning of a new term based on the context provided in two sentences. For example, in the phrase “The girl got a jat for Christmas” and “The best man was so nervous he forgot the jat,” the noun jat means “ring.” Similarly, with “The student is nising noodles for breakfast” and “The man nised a delicious meal for her” the hidden verb is “cook.”

“This task simulates, at an experimental level, how we acquire part of our vocabulary over the course of our lives, by discovering the meaning of new words in written contexts,” explains Rodríguez-Fornells. “This kind of vocabulary acquisition based on verbal contexts is one of the most important mechanisms for learning new words during childhood and later as adults, because we are constantly learning new terms.”

The participants had to learn 80 new nouns and 80 new verbs. By doing this, the brain imaging showed that new nouns primarily activate the left fusiform gyrus (the underside of the temporal lobe associated with visual and object processing), while the new verbs activated part of the left posterior medial temporal gyrus (associated with semantic and conceptual aspects) and the left inferior frontal gyrus (involved in processing grammar).

This last bit was unexpected, at first. I would have guessed that verbs would be learned in regions of the brain associated with motor action. But according to this study, verbs seem to be learned only as grammatical concepts. In other words, knowledge of what it means to run is quite different than knowing how to run. Which makes sense if verb meaning is accessed by representational memory rather than declarative memory.

Researchers at the University of Tampere in Finland found that,

Interfaces that vibrate soon after we click a virtual button (on the order of tens of milliseconds) and whose vibrations have short durations are preferred. This combination simulates a button with a “light touch” – one that depresses right after we touch it and offers little resistance.

Users also liked virtual buttons that vibrated after a longer delay and then for a longer subsequent duration. These buttons behaved like ones that require more force to depress.

This is very interesting. When we think of multimodal feedback needing to make cognitive sense, synchronization first comes to mind. But there are many more synesthesias in our experience that can only be uncovered through careful reflection. To make an interface feel real, we must first examine reality.

Researchers at the Army Research Office developed a vibrating belt with eight mini actuators — “tactors” — that signify all the cardinal directions. The belt is hooked up to a GPS navigation system, a digital compass and an accelerometer, so the system knows which way a soldier is headed even if he’s lying on his side or on his back.

The tactors vibrate at 250 hertz, which equates to a gentle nudge around the middle. Researchers developed a sort of tactile morse code to signify each direction, helping a soldier determine which way to go, New Scientist explains. A soldier moving in the right direction will feel the proper pattern across the front of his torso. A buzz from the front, side and back tactors means “halt,” a pulsating movement from back to front means “move out,” and so on.

A t-shirt design by Derek Eads.

Recent research reveals some fun facts about aural-tactile synesthesia:

Both hearing and touch, the scientists pointed out, rely on nerves set atwitter by vibration. A cell phone set to vibrate can be sensed by the skin of the hand, and the phone’s ring tone generates sound waves — vibrations of air — that move the eardrum…

A vibration that has a higher or lower frequency than a sound… tends to skew pitch perception up or down. Sounds can also bias whether a vibration is perceived.

The ability of skin and ears to confuse each other also extends to volume… A car radio may sound louder to a driver than his passengers because of the shaking of the steering wheel. “As you make a vibration more intense, what people hear seems louder,” says Yau. Sound, on the other hand, doesn’t seem to change how intense vibrations feel.

Max Mathews, electronic music pioneer, has died.

Though computer music is at the edge of the avant-garde today, its roots go back to 1957, when Mathews wrote the first version of “Music,” a program that allowed an IBM 704 mainframe computer to play a 17-second composition. He quickly realized, as he put it in a 1963 article in Science, “There are no theoretical limits to the performance of the computer as a source of musical sounds.”

Rest in peace, Max.

UPDATE: I haven’t updated this blog in a while, and I realized after posting this that my previous post was about the 2010 Modulations concert. Max Mathews played at Modulations too, and that was the last time I saw him.

I finally got around to recording and mastering the set I played at the CCRMA Modulations show a few months back. Though I’ve been a drum and bass fan for many years, this year’s Modulations was the first time I’d mixed it for others. Hope you like it!

Modulations 2010
Drum & Bass | 40:00 | May 2010

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1. Excision — System Check
2. Randomer — Synth Geek
3. Noisia — Deception
4. Bassnectar — Teleport Massive (Bassnectar Remix)
5. Moving Fusion, Shimon, Ant Miles — Underbelly
6. Brookes Brothers — Crackdown
7. The Ian Carey Project — Get Shaky (Matrix & Futurebound’s Nip & Tuck Mix)
8. Netsky — Eyes Closed
9. Camo & Krooked — Time Is Ticking Away feat. Shaz Sparks

Over the last few days this video has been so much bombshell to many of my music-prone friends.

It’s called the Multi-Touch Light Table and it was created by East Bay-based artist/fidget-house DJ Gregory Kaufman. The video is beautifully put together, highlighting the importance of presentation when documenting new ideas.

I really like some of the interaction ideas presented in the video. Others, I’m not so sure about. But that’s all right: the significance of the MTLT is that it’s the first surface-based DJ tool that systematically accounts for the needs of an expert user.

Interestingly, even though it looks futuristic and expensive to us, interfaces like this will eventually be the most accessible artistic tools. Once multi-touch surface are ubiquitous, the easiest way to gain some capability will be to use inexpensive or open-source software. The physical interfaces created for DJing, such as Technics 1200s, are prosthetic objects (as are musical instruments), and will remain more expensive because mechanical contraptions will always be. Now, that isn’t to say that in the future our interfaces won’t evolve to become digital, networked, and multi-touch sensitive, or even that their physicality will be replaced with a digital haptic display. But one of the initial draws of the MTLT—the fact of its perfectly flat, clean interactive surface—seems exotic to us right now, and in the near future it will be default.

Check out this flexible interface called impress. Flexible displays just look so organic and, well impressive. One day these kinds of surface materials will become viable displays and they’ll mark a milestone in touch computing.

It’s natural to stop dancing between songs. The beat changes, the sub-rhythms reorient themselves, a new hook is presented and a new statement is made. But stopping dancing between songs is undesirable. We wish to lose ourselves in as many consecutive moments as possible. The art of mixing music is to fulfill our desire to dance along to continuous excellent music, uninterrupted for many minutes (or, in the best case, many hours) at a time. (Even if we don’t explicitly move our bodies to the music, when we listen our minds are dancing; the same rules apply.)

I don’t remember what prompted me to take that note, but it was probably not that the mixing was especially smooth.

A tomato hailing from Capay, California.

LHCSound is a site where you can listen to sonified data from the Large Hadron Collider. Some thoughts:

  • That’s one untidy heap of a website. Is this how it feels to be inside the mind of a brilliant physicist?
  • The name “LHCSound” refers to “Csound”, a programming language for audio synthesis and music composition. But how many of their readers will make the connection?
  • If they are expecting their readers to know what Csound is, then their explanation of the process they used for sonification falls way short. I want to know the details of how they mapped their data to synthesis parameters.
  • What great sampling material this will make. I wonder how long before we hear electronic music incorporating these sounds.

The Immersive Pinball demo I created for Fortune’s Brainstorm:Tech conference was featured in a BBC special on haptics.

I keep watching the HTC Sense unveiling video from Mobile World Congress 2010. The content is pretty cool, but I’m more fascinated by the presentation itself. Chief marketing officer John Wang gives a simply electrifying performance. It almost feels like an Apple keynote.

The iFeel_IM haptic interface has been making rounds on the internet lately. I tried it at CHI 2010 a few weeks ago and liked it a lot. Affective (emotional haptic) interfaces are full of potential. IFeel_IM mashes together three separate innovations:

  • Touch feedback in several different places on the body: spine, tummy, waist.
  • Touch effects that are generated from emotional language.
  • Synchronization to visuals from Second Life

All are very interesting. The spine haptics seemed a stretch to me, but the butterfly-in-the-tummy was surprisingly effective. The hug was good, but a bit sterile. Hug interfaces need nuance to bring them to the next level of realism.

The fact that the feedback is generated from the emotional language of another person seemed to be one of the major challenges—the software is built to extract emotionally-charged sentences using linguistic models. For example, if someone writes “I love you” to you, your the haptic device on your tummy will react by creating a butterflies-like sensation. As an enaction devotee I would rather actuate a hug with a hug sensor. Something about the translation of words to haptics is difficult for me to accept. But it could certainly be a lot of fun in some scenarios!

I’ve re-recorded my techno mix Awake with significantly higher sound quality. So if you downloaded a copy be sure to replace it with the new file!


Techno | 46:01 | October 2009

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1. District One (a.k.a. Bart Skils & Anton Pieete) — Dubcrystal
2. Saeed Younan — Kumbalha (Sergio Fernandez Remix)
3. Pete Grove — I Don’t Buy It
4. DBN — Asteroidz featuring Madita (D-Unity Remix)
5. Wehbba & Ryo Peres — El Masnou
6. Broombeck — The Clapper
7. Luca & Paul — Dinamicro (Karotte by Gregor Tresher Remix)
8. Martin Worner — Full Tilt
9. Joris Voorn — The Deep

I recently started using Eclipse on OS X and it was so unresponsive, it was almost unusable. Switching tabs was slow, switching perspectives was hella slow. I searched around the web for a solid hour for how to make it faster and finally found the solution. Maybe someone can use it.

My machine is running OS X 10.5, and I have 2 GB of RAM. (This is important because the solution requires messing with how Eclipse handles memory. If you have a different amount of RAM, these numbers may not work and you’ll need to fiddle with them.)

  • Save your work and quit Eclipse.
  • Open the Eclipse application package by right-clicking (or Control-clicking) on and select “Show Package Contents.”
  • Navigate to Contents→MacOS→, and open “eclipse.ini” in your favorite text editor.
  • Edit the line that starts with -”XX:MaxPermSize” to say “-XX:MaxPermSize=128m”.
  • Before that line, add a line that says “-XX:PermSize=64m”.
  • Edit the line that starts with “-Xms” to say “-Xms40m”.
  • Edit the line that starts ith “-Xmx” to say “-Xmx768m”.
  • Save & relaunch Eclipse.

Worked like a charm for me.

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Powerplant Family

The Powerplant Family was an artist collective I helped to organize with Lucy May, Naomi Lasry, and Sammono Chau. We held an exhibition called Nature of State, which explored the role of nature in modern life and featured works by 23 artists. I collaborated with Lucy May and Lysandre Coutu-Sauvé to create an interactive dance installation called Play Station #9, described here.

The following material is from the (now offline) Powerplant website.

Powerplant Family presents: Nature of State

powerplant-logoThe nuclear family has mutated. We have taken a look at the soil in which we sit and have found that some of us flourish in our terracotta, while others long to push roots in wider spaces free of concrete. Though each of us is earthed in our own particular little world, we are all exposed to two radiations: nature and urbanity.

Traditionally, these two are seen as warring elements. Although industrial development can devestate the setting in which it lays its foundations, nature (in the broadest sense of the term) persists in exerting a force as strong as steel or red-tape: dandelions push through cracks in the sidewalk, enormous factories erode, patterns of migration emerge at rush hour. And so the characterization of the city as nature’s antagonist, with which we are so familiar, cannot be taken at face value. In fact, when we look closely, the distinction between said opponents dissolves; the city, we realise, is a natural thing.

Our investigation into this convergence will be documented in the exhibition Nature of State. The photographers, sculptors, performers, graffiti writers, dancers, musicians, streetrunners, filmmakers, poets, wanderers and philosophers who have all helped to water and to shed some light on the seed of our theme, will exhibit their findings and reactions between Friday April 7th and Saturday April 15th 2006. The result will be lush.


135 Avenue Van Horne, corner Waverly
Montreal, Quebec


Amélie Anache

Amélie Anache
Commercial galleries and malls: An indoor natural environment?

Malls, food courts and underground galleries try hard to make us feel like we are in a natural environment. But are we really taken in by fake plants, fake fountains, and fake pavement?

Steve Athanasopoulos

Steve Athanasopoulos

A series of drawings relating animals to humans.

Amber Berson

Amber Berson

This piece is about the North Star and how it is constantly changing states. Currently it is Polaris, of the constellation Ursa Minor. In the past it has also been part of the constellations Draco (Thuban), Lyra (Vega), and Cepheus (Alpha Cephei). The star shifts between these constellations independently. To illustrate this, I am using images of our pasts, present and futures superimposed with illustrations of the shifting stars.

Louise Birdsell Bauer

Louise Birdsell Bauer
The Playing Field

We often have stirring exchanges in city park spaces, and that dialogue is the central theme of my short stories. People find release in green spaces, however small or brief the occasion. The emanating feelings, both sensory and cerebral, allow for a renewed inclination to create. The characters in these stories collectively attest to this everyday miracle, occasionally giving us a glimpse into their imagination.

Adrian Buitenhuis

Adrian Buitenhuis
Photography & Installation
Still-video & audio loop

Long exposed colour still photographs of trains entering various Montreal metro stations are matched by the sound recorded during the length of the creation of the image. All images are combined with recorded sound to create a video loop.

Sammono Chau

Sammono Chau
Vector Sigma
Remote controlled found objects

Vector Sigma is a supercomputer located deep within Cybertron. It is unknown who created it or for what purpose, but it is known that it is capable of granting inanimate robots both life and intelligence.” Wikipedia

When I was nine, my friend and I were going to build an intelligent robot from a broken calculator we had found. For this project, I, Vector Sigma, will drink lots of coffee and grant new life to discarded objects. My packrat nature, in tandem with my fascination since childhood with circuitry or anything cybernetic (Transformers of course), have had me collecting treasures from numerous street corners and adopting discarded remote controlled toys from work (formerly known as Radio Shack). I have always been shocked and a bit sad to see perfectly good material, most of the time really useful and usable, heaped around town on garbage day. The end result will be an almalgamated being equipped with kinetic movement, its own dialect, and will radiate junk culture vitally, which I witness every day as people flock into my workplace to buy the latest disposable technology.

People usually decline our “Three Year Extended Warranty Repair or Replacement Plan” with the response: “For what it’s worth, I’d rather throw it away and buy a new one.”

William Colley

William Colley
Nature’s Boy
Pencil, acrylic
Nuclear Tree Line
Collage, acrylic
Urban Restraints
Pen & ink illustrations mounted in houseplants

My submission includes three abstract paintings which all have to do with being caught in something greater than yourself, whether it be city or nature, the link to both is there… but my most inspired submission is to be a House Plant installation This installation is composed of three house plants of different sizes, in each plant, an illustration will be found, mounted as if they are a natural part of the whole. The idea is to convey house plants as a new medium for the artist, a platform which one may grow from, artist as plant. But the thought of it is taken further in that many artistic works are produced in confined spaces, apartments, studios, four walls; a mirror image of house plants, of sorts, un-able to connect to the true roots of their natural environments The installation is a means of showing the viewer how the most absurd mind is only as free as the space which it is in; frame of mind, framed images, framed plants, refined nature for the refined artists.

Shawnee deGruchy

Shawnee deGruchy
Human Cocoon

The main theme of the piece is how humans have evolved and how new scientific discoveries have changed the state of humans. Human Cocoon focuses on rebirth and deals with the question, “What would it look like if humans invented a way to be reborn?”

Rachel Dhawan

Rachel Dhawan
Sex and Gender
Embroidery on raw silk

Using my own life-size image, I play with the roles we are assigned. This diptych questions the perceived biological nature of sex and gender, while explorng the performance of such identities.

Chris Dyer

Chris Dyer
Nature is Communicating
Acrylic on a recycled skateboard

Though Nature doesn’t have the sophisticated human means of expression as language, it does have much consciousness and communicates to us constantly. Through the colors of springtime, life, the smells in the air, the food we eat, and drugs we intake, it talks. The chemical message comes across more clearly via Psychadelic intake, and it appears to me that it is saying for us to unite with it instead of creating divisions. To harmonise with a system that is part of us, or continue our mass suicide. Plants definitely have Power and divinity, as everything is a small cell in the giant body of God.

Ana Kusmic

Ana Kusmic
Conte & acrylic on canvas

My project is about buses. That is, I have drawn an interior of a bus. The bus that I use as transport every single day is the subject. Consider the bus as your walk into the nature when you’re using it. I stare at the bus so much for so long, it really deserves to become a picture and made look pretty for once.

Naomi Lasry

Naomi Lasry
Body, Lamp, Turtle

The image of the turtle is my reaction or trying to mimic the experience of volunteering in Tortugeuro, Costa Rica, witnessing thousands of tourists invading the endangered sea turtle’s moment to lay its eggs. It resembles a rotting carcass of a turtle, made out of industrial materials. The installation will include this turtle surrounded by sand, whereby the audience becomes the invaders. The turtle finds itself in this modern surrounding, lost yet somehow adapting to the new environment of human activity.

The image of the lamp tree, is like a street lamp revolting, against its destined materials, wants to become nature or in some way just does, and grows arms and resembles that of an organic tree.

The image of me with my crooked spine refers to the body in its present shape and to industrialization and the mechanics of prosthetics.

Melissa Matos

Melissa Matos
Camera Reconstructed
Deconstructed vintage cameras, silver chain & accessories

Having a constant fascination with the idea of deconstructed objects, I am constantly interested in rebuilding them into a new context — giving them new life. Here, I have taken apart broken photographic cameras and used their parts to make accessories which adorn necks, giving them a new purpose and life.

Lucy May

Photo: Maxime Coté

Lucy May, Lysandre Coutu-Sauvé, David Birnbaum
Play Station #9
Interactive dance

Lucy May:

In this interactive improvisation, sound is used as the language of translation between spectator demand and the acted choreographic respons. A videogame controller is used to control synthesis software written by David Birnbaum, allowing the audience to manipulate live sound samples, which in turn will inform the dancers how to move. The resulting instant choreography will be the product of the spectator-director’s choices, and the indvidual dancers’ interpretation of that sound. They will draw on their unique movement vocabularies and impulses, as opposed to socially codified movement from the moment we walk upright to the bathroom in the morning, to the hours we spend in ergonomic chairs with hands outstretched over a keyboard, to the late hours we spend trying to look our best inna the club.

The process becomes a metaphor for how individuals adapt to their responsibilities in society: to perform well, to "save face" or to "get away with ". These are new behaviors particular to living within a hierarchical city structure. Human nature has changed to suit its context.

We invite you to put our new instincts to the test and to witness movement unleashed from social norms.

David Birnbaum:

This interactive dance system plays on the triple-reliance among body mover, sound, and active observer. My goals were to preserve a fluid progression of interaction, but above all to cull a sense of beauty from both the sound synthesis and the movers. The goal is the opposite of confrontation – rather, the observer is presented with a familiar physical interface (a videogame controller), with which he soon discovers apt control of real-time sound synthesis; and immediately after, realizes physical control of a duo of female dancers, gracefully employing the observer’s suggestions with improvisational movement.

There have been dancer-control interfaces that have relied on rule- and knowledge-based reactionary behavior. This system, on the contrary, relies on skill-based improvisational interpretation of signal-level control messages. This shift toward immediacy and freedom comes with a necessary detriment to precise, accurate correlation between the mover’s gestures and the observer’s whimsical directives: the experiment is thus in the ability for the observer to derive meaning from an action-reaction system that is held together not by explicit rules but by the tastes and biases of the "inter-actors". An additional point is the question of whether any perceived correlation (if indeed, there is any at all) is genuine, or manufactured by the observer’s natural tendency to connect abstract stimuli in two simultaneous modes of perception (vision, sound), compounded by the element of perceived control.

Eduardo Menz

Eduardo Menz
Video & audio loop

I have taken the relationship between nature and the city and juxtaposed the idea that the city is a symbol of advance and technology whereas nature is a symbol of cycle and the primitive and the organic. Even with differences such as these, can we find similarities?

This is a video work presented on a loop. The video is one long take and quite simple. It begins with an image and sound of a waterfall (symbol of nature). This will continue for one minute. The camera tracks out slowly until the viewer realizes the waterfall is on a television (symbol of technology/city). The sound of the waterfall continues. While tracking out, the image of the waterfall gets switched to television “snow”. Yet the sound does not change. Track out further and reverse the action. Finally entering into a loop of track ins and outs. On each level and sound level is heightened.

This piece uses visual medium but the impact or punchline comes by audible means. The sound of the natural waterfall mirrors that of the technological television and vice versa, questioning a surreal similarity between the central themes and questioning the state of nature.

PK514 / Safe Solvent

Pk514 / Safe Solvent
L’art du déplacement

A video demonstrating the difference between regular “civilians” and the tracer’s (someone who practices parkour) way of moving in the city. I want to show how we adapted our bodies and visions in the way we see and use the city. It will be filmed throughout the day from early sunset to busy morning rush until sunset again… the video will be projected into a designed “BOARD” with photographs surrounding the white area for the video.

All design and artistic aspects done and directed by Safesolvent.

Aaron Reaume

Aaron Reaume
Rooted in Concrete
UV Base Screen Print

In this piece I’ve continued exploring my interests concerning how humans relate to the earth. Architecture and landscape come to the forefront here. The manner in which resources are used and configured speaks volumes of the society they help define. As usual, I’ve decided it best to take a light-hearted approach to the topics at hand. I find this helps spark productive dialogue and offers a fresh perspective on weighty issues.

Carl David Ruttan

Carl David Ruttan
nSpace Textures II

Frame 1: The action of photographing a small textural detail on the city surface. Frame 2: The printing and installation of the photographed texture on a new surface (photographic paper). Frame 3: The construction of a virtual space to further recontextualize the captured texture. Frame 4: The return to the original surface, now framed with a conventional picture frame in situ.
This multiple framing calls into question the actual location of the work: Where is art?

Ari Segal

Ari Segal
Faces of Man
Photo montage

As photography has evolved into a digital medium, the act of photography has not yet changed with it. The majority of digital art is still based on illustration. As such I use photographic montage to create digital portraits of people.

Ceilidh Stidwill

Ceilidh Stidwill
Garbage Woman

I am looking to do a performance piece of collecting all the garbage from things I use over a course of a week or two weeks (however long it takes to make it relevant) and attach it to my clothing, by stitching it to a coat as sort of a ceremonial or ritualistic event.

I will be documenting the performance with photography and possibly video, illustraiting public reactions and relationships in urban space. What I would like to show is the garbage suit and documentation at the show!

Gregory Theobal

Gregory Theobal
Les Face Cachées de la Lune
Acrylic on wood

Les Face Cachées de la Lune is a series of paintings that reflect my vision of the moon beyond the real. This powerful symbol of the night has one side that we never see, they call it “The hidden face of the moon”. One night I discovered there were others!

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