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sketch for diomira (2011)
software drawing, pigments on 22x17in. niyodo paper

current-current work, as in right now (february '13)

i have continued the development of several series started some time ago, with different projects in mind

wheel of time, for in visible cities (now design is finalized, four final copies available, and production is under way), grateful for all the surprises i have and the discoveries i make with it

just enough chance, for grayscale:12 (now sadly, this collaboaration is in limbo), and for my why y=ryoanji my own active research

thousand waves and clouds is a new branch, as well as breeze drawings another non digital, algorithmic adventure, wonderful discoveries and potential

i keep rewriting and rationalizing these streams of software, expecting to merge them all one day into a new powerful instrument (but this takes for ever)

the software for the sonification of echo and narcissus, working with iannis zannos and jeremy sarchet, has been completed. we are working next on developments that would allow human voice utterances, poetry mostly

i have completed tuning the latest sand piece with david bothman, having eliminated a spurious, noisy, sporadic vibration. we have several improved designs under way for the next iterations of my sand of changes

last summer has seen me busy with a whole series of sand trace time lapses, and working on my awardee presentation at acm siggraph last august

this winter has been mostly about flu, rest, future books, and setting up a new breeze drawing apparatus by jeremy

after that, restarting plotters, and using my inventory of pens, inks, and drawing paper to the last

all in all, the creative act is not performed by the artist alone. the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.
(marcel duchamp)

creative commons license jean-pierre hébert contact. (08 Feb 2013)