The perception of events and objects changes dramatically depending on the context in which they are located. The performance, in particular, are related to the atmosphere that surrounds them and the events that happened during that time. These still form a background, more or less conscious, that goes to permeate the meanings expressed during the performance itself, sometimes changing them radically, as in this case. 'Between Science and Garbage', in fact, was performed for the first time shortly after September 11, 2001 and the symbols used (consumption, waste, rain of men) has been interpreted by the public as ruins and bodies in free fall, distorting the results through the collective unconscious. The interaction between Hébert and Ostertag, very symbiotic, has been so extensively modified by external inputs led to modeling work, performance after performance ('live cinema', as defined by the authors). In the raw palette Hébert new elements are thrown with methodical regularity and animations made to live sketches, frame by frame, coordinate system with integrated loop to the filming of micro. The sounds processed by Ostertag turn continuously, reflecting the same structure of loops, and the evolution that follow, in alternate streams of mood, supports and reinforces the constant calls short-term memory of his artistic partner. The concepts are formed as well, and the original consumption gives way to fear elaborated collectively iin an audiovisual performance CHBE becomes a political act collaboratively.