JOACHIM SAUTER, ART+COM AND ÓLAFUR ARNALDS

Symphonie Cinétique

The exhibition project focuses mainly on the cor­relation and inter­action of three elements: reflection, sound and movement. Symphonie Cinétique narratively inter­relates the three elements, and brings out their inherent, almost mystic harmony. The result of this process is an artistic synthesis, a unique spatial experience. At the premiere, Arnalds performed the Symphonie Cinétique live on piano and tablet. This fascinating interplay between music, light and movement served as a prelude to the exhibition.

PO TING LEE AND MAARTJE DIJKSTRA

Po-Ting LEE is a Taipei-born new media artist. He has an almost incurable condition of Thalassemia and this is the main context for his creations. LEE studied sculpture in the Taipei National University of The Art. His works then were chiefly kinetic/installation and as well as sound works. LEE is currently studying at the Graduate Institute of Arts and Technology in Taipei National University of the Arts. In his work, he attempts to combine kinetic installations and sound.

bart hess

바트 헤스
巴特·赫斯
בארט הס
БАРТА ХЕССА
SIlVERNanine Linning
Nothing has changed as radically in the last few decades as the technology we surround ourselves with on a daily basis. Modern means of communication let the world shrink to a pocket size Global Village. Medical technology promises life beyond its natural limits. Robotics, cybernetics and developments in the field of artificial intelligence put the equally fascinating as disquieting idea of artificial life within our grasp. Nanine Linning’s new production SILVER addresses the intimate – and increasingly intrusive – relationship between the human and the technological, showing the beauty of its aesthetics, but also questioning its promise of ever increasing progress and self-improvement.

MARIA MARTINS

“O impossivel”

They touch. They bite. They get warm. They penetrate. They are made. They get rid of. They stick their tongues in. They put the body in. They get body. They split up. They exist.
They want to be one. It is impossible (“O impossivel”). Which means that a single body, as you would like, is impossible. It can not. For a moment yes, for a moment they can. But no, they can’t. Impossible. They cannot be one. Despite the bites. Their bodies are different. They were born and will die self-absorbed, in themselves. Between them there is an abyss, a discontinuity. But they want to be continuous, they want their bodies to be one body. Since they cannot, they celebrate the sacrifice of the meat. “Essentially,” says Georges Bataille, “the field of eroticism is the field of violence, the field of rape.” Isn’t it violent, perhaps, to want to break the discontinuity of the other closed in on itself? Isn’t it violent to force the discontinuity of the other to be a continuous whole with him? O impossível by the Brazilian Maria Martins (1894/1973) shows the excesses of sex (take note: excess, sex). Or impossível is the moment in which the organs swell with blood and gush sexuality. The moment when animality makes us gloriously human.

Maotik

Erratic Weather
Despite some world leaders skepticism, climate change is a reality and the world isn’t just warming, in some parts of the planet the weather is becoming more erratic. During the last years, our generation has started to observe the effects and consequences of this shift, witnessing violent and unexpected climate phenomenons. Erratic Weather is a digital art project aiming to represent changing atmospheric conditions into an immersive multimedia experience. During the performance, the system uses various source of weather information retrieved from an online database and processed on real time to generate a visual and a surround sound composition. During 30 minutes the audience will experience the life cycle of swirling phenomenons such typhoon, hurricane and tropical cyclone , demonstrating the devastating power of the nature and the emergency to preserve it.

Shohei Fujimoto

Intagible #Form
In this artwork “intangible #form [2019]”, focusing on how do we see the intangible as tangible using 420 kinetic laser modules. I’ve tried to generate virtual consciousness, presence and behavior of life in this time. And then I’ve been exploring what are we getting the surfacing consciousness and presence from the thing is in front of us or are we giving these to them? I think that when paying attention to consciousness, it could be a trigger to sense that we are human ourself.

Ryoji Ikeda

micro | macro
micro | macro transforms Hall E in the MuseumsQuartier into an oversized world of moving images and sounds. In his immersive installation, multimedia artist Ryoji Ikeda creates a field of imagination between quantum physics, empirical experimentation and human perception. In collaboration with nuclear scientists at CERN, Ikeda has translated complex physical theories into a sensory experience. The Planck scale is used by scientists to denote extremely small lengths or time intervals. Concepts like space and time lose their meaning beyond this scale, and contemporary physics has to rely on speculative theories. And on art. Visitors to micro | macro enter a world of data, particles, light and sound that makes the extremes of the universe perceptible to the eye and ear. In the micro world we penetrate the smallest dimensions of the unrepresentable, while in the macro world we take off into cosmic expanses that allow us to experience the infinite space beyond the observable universe. In this maelstrom of data, an acoustic and visual firework bridges the gap between theoretical understanding and sensual perception.

Gaspard et Sandra Bébié-Valérian

Viridarium / Bioréacteur de spiruline
Gaspard and Sandra Bebie-Valérian will present Viridis. Viridis is a global project that relies on different modules, the main being an online video game, immersive, plus an installation made of spirulina bioreactors and a set of videos and sounds. While Viridis is mainly available on the internet, the two artists, at this occasion, will present it out of the screen, they will deploy and spread it in several modules.
Viridis is a unique game experience combining adventure, survival, and an actual operating spirulina community management. Through the video game, the community can directly affect and interact with a real operating spirulina farm, managed by the artists.

Christoph De Boeck

Staalhemel

The intimate topography of the brain is laid out across a grid of 80 steel ceiling tiles as a spatialized form of tapping. The visitor can experience the dynamics of his cognitive self by fitting a wireless EEG interface on his head, that allows him to walk under the acoustic representation of his own brain waves.The accumulating resonances of impacted steel sheets generates penetrating overtones. The spatial distribution of impact and the overlapping of reverberations create a very physical soundspace to house an intangible stream of consciousness.‘Staalhemel’ (‘steel sky’, 2009) articulates the contradictory relationship we entertain with our own nervous system. Neurological feedback makes that the cognitive focus is repeatedly interrupted by the representation of this focus. Concentrated thinking attempts to portray itself in a space that is reshaped by thinking itself nearly every split second.

NICOLAS SCHÖFFER

ニコラ·シェフェール
Chronos 5
In 1948 he created the concept of “space dynamism”. In his words, space dynamism is “the constructive and dynamic integration of space in plastic work.” Based on this idea, he will seek to create the total work of art, concretized in the cybernetic village, a city full of utopian spaces. His work combines cybernetic, kinetic art and interactive art, of which he is one of its first representatives, making the first works of art in real time or live in the history of art.

Nelo Akamatsu

Chijikinkutsu
“Chijikinkutsu” is a coinage, specially created for the title of this work by mingling two Japanese words: “Chijiki” and “Suikinkutsu”.”Chijiki” means geomagnetism: terrestrial magnetic properties that cannot be sensed by the human body but that exists everywhere on earth. Since long before the Age of Discovery, people have traveled with navigation using compasses employing geomagnetism. In recent years, various devises that utilize geomagnetism have even been incorporated into smartphones[…] “Suikinkutsu” is a sound installation for a Japanese traditional garden, invented in the Edo period. The sounds of water drops falling into an earthenware pot buried under a stone wash basin resonate through hollow bamboo utensils. The concept of the work “Chijikinkutsu” does not derive from experimentalism of science and technology on which media arts rely, nor from architectural theory of western music upon which some sound arts lay their foundation. While utilizing the action of geomagnetism normally treated as a subject of science, this sound installation expands the subtle sounds of “Suikinkutsu” in the context of Japanese perspective on Nature.

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
SHAKESPEAR`S SONETTES
Staging Shakespeare, not dramatic but lyrical: that was the intention of the American director Bob Wilson in Sonnets de Shakespeares (Sonnets de Shakespeare), a show on display at the Berliner Ensemble. To that end, Wilson is associated with American-Canadian composer and musician Rufus Wainwright. The result is a variety night, with reference to all genres of entertainment, from the commedia dell’arte to television sketches, passing through the cabaret. If in the Elizabethan era female roles were played by men, Bob Wilson did the same, creating this reverse practice: actresses play male roles. This inversion – Queen Elizabeth 1st, on her throne, declaiming a sonnet with a deep voice and Shakespeare himself, as a young man and an elder, in female voices – further intensifies the farcical tone of the show. So much so that even the sporadic number of transvestite actor Georgette Dee, microphone in hand, does not disagree much of the Shakespearean surroundings.

daan roosegaarde

waterlicht

Dubbed “the northern light of the Netherlands” by Studio Roosegaarde, the Waterlicht installation is designed to create the impression of a “virtual flood”.The waving lines of light spread across 1.6 hectares bear a resemblance to the northern lights – the natural phenomenon created when charged particles enter the Earth’s atmosphere – when viewed from underneath.

Zach Blas

Contra-Internet
Currently, Blas is producing a body of artwork that responds to technological control and refusals of political visibility through tactics of escape, disappearance, illegibility, and opacity.

marleen sleeuwits

object no. 9

Marleen Sleeuwits is inspired by impersonal environments—places that could be anywhere and nowhere—such as vacant zones in airports, unoccupied corridors of hotels, and empty rooms in office buildings. The Netherlands-based artist is attracted to these non-spaces for the lack of impression they leave on people; her work focuses on finding ways of visualizing the identity of these voids and connecting to them in novel ways. Through structural contradiction, illusion, and the manipulation of scale, she aims to transform viewers’ awareness of their surroundings.

Refik Anadol

Machine Hallucination
Refik Anadol’s most recent synesthetic reality experiments deeply engage with these centuries-old questions and attempt at revealing new connections between visual narrative, archival instinct and collective consciousness. The project focuses on latent cinematic experiences derived from representations of urban memories as they are re-imagined by machine intelligence. For Artechouse’s New York location, Anadol presents a data universe of New York City in 1025 latent dimensions that he creates by deploying machine learning algorithms on over 100 million photographic memories of New York City found publicly in social networks. Machine Hallucination thus generates a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques. The resulting artwork is a 30-minute experimental cinema, presented in 16K resolution, that visualizes the story of New York through the city’s collective memories that constitute its deeply-hidden consciousness.

Di Mainstone & Joanna Berzowska

Skorpions
LUTTERGILL
Skorpions are a set of kinetic electronic garments that move and change on the body in slow, organic motions.They breathe and pulse, controlled by their own internal programming. They are not “interactive” artifacts insofar as their programming does not respond to simplistic sensor data. They have intentionality; they are programmed to live, to exist, to subsist. They are living behavioral kinetic sculptures that exploit characteristics such as control, anticipation and unpredictability. They have their own personalities, their own fears and desires.

JORIS STRIJBOS

SVNSCRNS
SVNSCRNS is a commissioning project that is initiated by Klankvorm after a concept by Joris Strijbos. The project consists of the realization of a kinetic audiovisual installation for which artists are invited to realize content. The installation can be used for live performances as well as for playing prearranged compositions. The installation consists of seven rotating projection screens and speakers that can be controlled from a central point. Custom build software and hardware are accessible for artists from different backgrounds to experiment with this new dynamic field for audiovisual composition. Light, sound and movement come together with different forms of digital media to create a multi sensorial experience for the audience. In this way the project functions as a platform in which makers and creators of all kinds can collaboratively explore this kinetic audiovisual medium. The result is a slow moving robotic structure which can display different sorts of media but in it’s presence will have a strong influence on the experience of the spectator.

carsten holler

Decimal Clock
dans Decimal Clock (White and Pink), les instincts rationalistes de Höller se tournent vers la division du temps. L’horloge fonctionnelle, qui représente 10 heures, 100 minutes et 100 secondes, nous rappelle que l’homogénéisation globale du temps n’a eu lieu que récemment en réponse au degré sans précédent d’interconnexion planétaire. Decimal Clock (White and Pink) fait signe aux expériences avec le temps décimal pendant la Révolution française et rend hommage aux efforts visant à la comparabilité et à la régularité temporelles. Pourtant, il reconnaît également diverses manières non occidentales de mesurer le temps et, plutôt que de les voir comme une menace pour l’empire de la raison, les célèbre comme une expression enrichissante de la diversité de notre existence dans le temps.

Haru Ji and Graham Wakefield

Infranet
Infranet is a generative artwork realized through a population of artificial lifeforms with evolutionary neural networks, thriving upon open geospatial data of the infrastructure of the city as their sustenance and canvas. Born curious, these agents form spatial networks through which associations spread in complex contagions. In this city as organism, the data grounds an unbounded, decentralized, open-ended, and unsupervised system. Non-human beings flourish in this environment by learning, discovering, communicating, self-governing, and evolving. The invitation is to witness, through immersive visualization and sonficiation of this complex adaptive system, how a new morphologic landscape emerges as a possible but speculative city.

Karlheinz Stockhausen

SONNTAG aus LICHT

Sonntag aus Licht takes as its subject our solar system and the relationships of all the planets that orbit the sun. In this opera, the earth and life on it is represented as the result of the union of light and water. These two elements are presented in the first scene, and the rest of the opera celebrates the evolution of life, of plants, animals, humans, and above all this the planets, moons, and heavenly constellations. The opera has a pronounced ritualistic and meditative character, with very little that can be described as dramatic action.

Iris van Herpen

АЙРИС ВАН ЭРПЕН
イリス ヴァン ヘルペン
Autumn/Winter 2019
This season van Herpen collaborated with American kinetic sculptor Anthony Howe, whose pieces are powered by the wind. His spherical Omniverse sculpture had pride of place in the Élysée Montmartre venue. The designer said she was compelled by the way its arching vertebrae, spinning on a curving axis, simultaneously expand and contract. Her finale dress was made in the image of Omniverse, with rotating wings constructed of aluminum, stainless steel, and feathers.

Shu Lea Cheang

Avatar of the artist
Taiwan in Venice 2019
“For those who don’t know her, Shu Lea Cheang is a figure of Net art and the cyberfeminist movement that emerged in the 1990s. Living in New York at the time, she was also an active member of the activist video collective Paper Tiger Television (as was French filmmaker Nathalie Magnan). Since then, Cheang’s work has dealt with “concerns including sex, futures, gender, ecology, money, media, and food [to] encompass film, installation, online work, social processes, and direct intervention in the sociopolitical, technical and aesthetic systems, and the imaginaries which co-compose them,” writes Matthew Fuller

TERMINALBEACH

The Heart Chamber Orchestra
File Festival – Hipersonica 

In the TERMINALBEACH Heart Chamber Orchestra (made up of artists Erich Berger and Peter Vatava), twelve musicians played pieces from the heartbeat, recorded by an electrocardiogram from data sent by sensors placed on their bodies. As the live score created in real time from the physical and emotional states of the musicians, their beats further influenced the resulting musical composition. In this way, the biological feedback loop becomes a self-generating, organic and evolving system, which creates a musical score and a show that adopts the form of open or network art, in which chance and interdependence, thus how emotional changes and computational reasoning create a biological and psychological dynamic at the same time.

JOSEF SVOBODA

جوزيف سفوبودا
ЙОЗЕФА СВОБОДЫ
la traviata de verdi (Scenografia)
La technologie et la scénographie
Svoboda utilise les techniques de pointe en éclairage, en projection d’image et en mécanique de scène (scène cinétique) afin de s’affranchir des contraintes du lieu théâtral. La scène est pour Svoboda un instrument et un espace magique, lieu d’action de forces dramatiques, réelles, et non pas un espace illusionniste. La scénographie est une des disciplines de l’art théâtral, une composante de la mise en scène et un élément essentiel de la représentation. Elle doit donc d’être dynamique et se transformer dans le temps pour épouser l’action dramatique. La scénographie a un langage propre en tant que discipline à part entière. Svoboda apporte une contribution importante à ce langage par son travail sur la lumière et l’espace.
Lumière, matière et espace
Svoboda dit percevoir la lumière physiquement, et non pas simplement visuellement ; il trouve en elle l’inspiration pour son travail. Tout en reconnaissant son statut ” immatériel “, il la considère comme l’élément fondamental de la scénographie et la traite comme un matériau. D’abord formé en menuiserie, Svoboda affectionne particulièrement les matières brutes, notamment le bois. L’architecture représente pour lui, et ce dès son jeune âge, la somme des connaissances humaines. Formé en architecture d’intérieur, il s’intéresse à l’organisation de l’espace, à la rencontre scénique de l’architecture et du décor. Il privilégie les formes simples : la sphère, le cube et l’escalier. Svoboda croit que ” la mise en scène à l’italienne, bien qu’elle ne corresponde plus aux exigences des méthodes scénographiques actuelles, reste toujours la meilleure “.

GUY BEN-ARY, PHILIP GAMBLEN AND STEVE POTTER

Silent Barrage

Silent Barrage has a “biological brain” that telematically connects with its “body” in a way that is familiar to humans: the brain processes sense data that it receives, and then brain and body formulate expressions through movement and mark making. But this familiarity is hidden within a sophisticated conceptual and scientific framework that is gradually decoded by the viewer. The brain consists of a neural network of embryonic rat neurons, growing in a Petri dish in a lab in Atlanta, Georgia, which exhibits the uncontrolled activity of nerve tissue that is typical of cultured nerve cells. This neural network is connected to neural interfacing electrodes that write to and read from the neurons. The thirty-six robotic pole-shaped objects of the body, meanwhile, live in whatever exhibition space is their temporary home. They have sensors that detect the presence of viewers who come in. It is from this environment that data is transmitted over the Internet, to be read by the electrodes and thus to stimulate, train or calm parts of the brain, depending on which area of the neuronal net has been addressed.

Maxim Zhestkov

Elements
Elements is an experimental art film by Maxim Zhestkov about nature, physics, art and love. More than 2 billion elements / particles governed by tensions and forces of nature were used to tell stories and show emotions through the motion of collective behavior.
The film is a trial to explore the idea that everything around us and inside us is made from simple elements / blocks which can be arranged in complex relationships and become compound structures. We could project this idea into emotions, behaviours, thought processes, relationships, life, planets and the universe.

Driessens & Verstappen

Breed
Breed (1995-2007) is a computer program that uses artificial evolution to grow very detailed sculptures. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfils this “fitness” criterion and thus yields a workable form. The designs were initially made in plywood. Currently the objects can be made in nylon and in stainless steel by using 3D printing techniques. This automates the whole process from design to execution: the industrial production of unique artefacts.
Computers are powerful machines to harness artificial evolution to create visual images. To achieve this we need to design genetic algorithms and evolutionary programs. Evolutionary programs allow artefacts to be “bred”, rather than designing them by hand. Through a process of mutation and selection, each new generation is increasingly well adapted to the desired “fitness” criteria. Breed is an example of such software that uses Artificial Evolution to generate detailed sculptures. The algorithm that we designed is based on two different processes: cell-division and genetic evolution.

hanson robotics

Sophia the robot
Sofia, le robot humanoïde (android) ultra-réaliste fabriqué par Hanson Robotics, devient le premier robot a obtenir une citoyenneté officielle ! C’est l’Arabie Saoudite qui a officialisé il y a quelques jours l’existence de Sofia, devenant le premier pays à reconnaitre le statut de citoyen d’un robot et d’une intelligence artificielle. Sofia, dont nous avions déjà parlé l’année dernière, est un robot ultra-réaliste capable de tenir une conversation, de reconnaitre les gens et d’interagir avec son environnement, mais surtout possède sa propre personnalité et des expressions faciales réalistes.

Christopher Meerdo

Metadata
These videos are networked across multiple screens that have ben sculpturally shaped into a tall arch, asserting its physical presence like boding force. Embedded within one of the video sections is a poem the artist wrote about the ties the police have to slave catchers who then became police officers after abolition. The video also separately speaks to the artist’s own personal loss, affecting the video with an additional elegiac quality of the search for a missing friend.

ingo gunther

exosphere

The Exosphere has a diameter of 12 m (39’4″), weighs 4.5 tons, and relates to the Earth at a scale of 1:1,000,000. Its blue LED display indicates the geographic location of Wolfsburg, local temperature and time (supplied by the Atomic clock). It is positioned where Wolfsburg would be on this globe, assuming that the bottom of the globe is North and the vertical red display represents the position of the international dateline.

Field of Globes is a permanent installation of ninety World Processor globes. These spheres are readymade acrylic globes altered by the artist to visualize data on a variety of topics. This data comes from myriad sources, including the United Nations, the Organization for Economic Cooperation and Development, and other organizations.

video

Gerard O’Neill

O’Neill cylinder

O’Neill was inspired by the papers written by his students. He began to work out the details of a program to build self-supporting space habitats in free space.Among the details was how to provide the inhabitants of a space colony with an Earth-like environment. His students had designed giant pressurized structures, spun up to approximate Earth gravity by centrifugal force . With the population of the colony living on the inner surface of a sphere or cylinder, these structures resembled “inside-out planets”. He found that pairing counter-rotating cylinders would eliminate the need to spin them using rockets.This configuration has since been known as the O’Neill cylinder.

Studio Drift

L’Orfeo.
Dutch National Touring Opera’s production of L’Orfeo.
Artist Lonneke Gordijn, together with director Monique Wagenmakers and choreographer Nanine Linning, created a new interpretation of L’Orfeo.
The kinetic sculpture EGO, specially developed for LOrfeo, is a handwoven block controlled by algorithms and motors. The block has the ability to shift its shape and state, embodying Orfeo’s perspectives and thoughts. The oldest opera combined with modern cutting edge technology.

janaina mello landini

ciclotrama
the artworks have gone through 17 different iterations since 2010, each involving some form of ropes that seem to branch through the air and splay onto surfaces like fractals or a network of neurons.

Aurélien Bory

Sans Objet
“Avec Sans objet j’ai voulu introduire sur scène un robot industriel ayant la force de déplacer des éléments de décor aussi bien que des acteurs. La machine devient un protagoniste à part entière. Il s’agit d’un bras articulé, mécanique. On l’utilise comme une « marionnette » – un être 100% technologique – dans son dialogue avec un homme contemporain ordinaire.”

IANNIS XENAKIS

Янис Ксенакис
ヤニス·クセナキス
ANTIKHTHON

In 1971, Iannis Xenakis composed a work called Antikhthon. Commissioned by Balanchine for the New York City Ballet, this overwhelming composition refers to a hypothetical planet, proposed in the 5th century BC. by the Pythagorean philosopher Philolaus. “Antichthon” is the name that the Greeks gave to a hypothetical celestial object, the Counter-Earth, located between the Earth and the center of the Universe to prevent man from looking directly at Zeus, who had his throne there.

Pauline Van Dongen

Pauline van Dongen researches the body in a technologically textured space. After graduating from ArtEZ, Academy of the Arts in Arnhem, the Netherlands, she started her own womenswear label in 2010. Pauline operates a meticulous research of the behaviour of experimental and high-tech materials, combining new technologies with traditional techniques to constantly renovate craftsmanship. Working closely with companies from the field of science and innovation, Pauline aims to merge fashion and technology giving life to scientific creations.

DAVID LYNCH

Дэвид Линч
ديفيد لينش
大卫·林奇
デビッドリンチ
데이비드 린치
Dune: The Alternative Edition Redux (Alternate Ending)
En l’année 10191, l’empereur qui règne sur l’univers, connu sous le nom de Shaddam IV, établit une alliance avec les Harkonnen de la planète Geidi Prime pour éliminer de la galaxie la dynastie des Atréides, et plus particulièrement leur chef, le duc Leto, de la planète Caladan. Pour réussir ce projet funeste, l’empereur envoie les Atréides sur la planète Arrakis, appelée également “Dune”, où ils sont attendus par les terribles Harkonnens. Deux survivants échapperont au massacre : Paul Muad’Dib, l’héritier du trône Atréides et sa mère Lady Jessica. Après avoir été attaqués par les vers géants et sauvés des griffes du baron volant Vladimir, ils sont secourus par les mystérieux Fremen. Ces habitants de Dune consomment l’Epice qui assure pouvoir et longévité. Ils vivent dans l’attente de la venue du messie qui doit leur rendre leur liberté, et ils voient en Paul l’homme attendu de la prophétie…

cinema

William Forsythe

ויליאם פורסיית
ウィリアム·フォーサイス
威廉‧科西
윌리엄 포사이드
УИЛЬЯМ ФОРСАЙТ
Swinging Pendulum

Suspended from automated grids, more than 400 pendulums are activated to initiate a sweeping 15 part counterpoint of tempi, spacial juxtaposition and gradients of centrifugal force which offers the spectator a constantly morphing labyrinth of significant complexity. The spectators
are free to attempt a navigation this statistically unpredictable environment, but are requested to avoid coming in contact with any of the swinging pendulums. This task, which automatically initiates and alerts the spectators innate predictive faculties, produces a lively choreography of manifold and intricate avoidance strategies.