The Blind Box sits conceptually between two objects: my sensor-equipped gloves, developed at STEIM over many years, and the transparent laboratory glove boxes used in research environments to handle dangerous materials without direct contact.

The Blind Box is made of wood. You cannot see inside it. The project began as a portable recording studio — a mobile case for capturing found objects in the street and integrating their sounds into my musical work. During the first test recordings in my studio, something else appeared. The box, fitted with a large-membrane condenser microphone, picked up every touch, every friction, every hesitation of the hand against the objects inside. The recording tool had become an instrument. I stopped trying to make it something else.

Inside the box lives a collection of sounding toys and objects — fixed, occasionally expanded. The participant reaches in without seeing what they are touching. The hand navigates by feel; the ear follows. What the eye would have named and categorized instantly, the hand discovers slowly, partially, with uncertainty. The object remains unknown. The sound is immediate.

The box doesn't explain itself. Participants reach in and touch, and sometimes they guess what they're holding — sometimes correctly, sometimes not. The sound confirms contact but not identity. The hand and the ear together still don't add up to the eye. This is Field Logic reduced to a single body: no score, no sequence, no predetermined result — only local contacts in the dark, and whatever sound they produce.