10 January1946, the antennae of Camp Evans emit a short signal with very great power towards the Moon. Barely than two seconds later, they capture a slight echo. It was the first success for Project Diana, two years after its launch. Giving form(s) — in all the possible ways that this expression may carry — to what is invisible is at the heart of Simon Ripoll-Hurier’s practice. From amateur radio operator clubs to ghost hunters, from bird watchers to the drums that could send signals on battle fields, the challenge is to successfully establish contact with a distant, absent being, by using much more mysterious means than those inhabiting our daily lives. Thus the machine appears in diverse forms, the test is probably more linked to the immaterial, to the silence or to the background noises that constantly disturb the efforts and attempts. In Switzerland, Guyana or New Jersey, the director questions and frames carefully these elusive, perhaps despite themselves, poetic and at time quirky inquiries.