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.

Odoshi Cloud Sequence
A symbiosis between nature and culture is created against the backdrop of the Japanese garden in the pond of the Amstelpark. This artwork explores new possibilities to generate sound and composition that are controlled by slow, unpredictable and unexpected elements of nature which are highly respected in Japanese culture. The diversity of natural sounds gives the work an almost meditative character, while the dependance on natural factors evoke a tension between longing and acceptance. This sound installation engages, as a natural sequencer, in a dialogue with the water, sun wind and clouds. It refers to Japanese garden culture by using the principle of the Japanese bamboo water tumbler.

Vortexture
Vortexture puts forward an architecture that is agile, activity-based and challenges our ideas of organization and static typologies. Materializing permeant physical form – it is a space that is constant fluctuation. There is no final typicality; it’s an architecture in a process that regenerates and adapts with the change in space and time. Vortexture is a proposal for a new work environment simulated and tested via agent models and developed as a new kind of the urban district as a creative industry hub. Vortetute is time-sensitive. Vortexture is season sensitive. On weekdays, the office orients itself to create a user interface that is productivity-based, while during the weekend, the floor plan reshuffles itself to enhance creativity-based plan allowing more communal areas and meeting zones.

罗杰·海恩斯
A retrospective view of the pathway
His work revolves around the contemporary problem of understanding the meaning and significance of the world. It uses objects and behaviors that are opposed to the more conditioned and appropriate approaches of its predecessors and contemporaries. Hiorns has worked with Naked Youths, antidepressants, jet engines, buried airliners, steroids, sexual activity, and crystallization. In order to identify dominant objects and behaviors in the Western world, she asserts the need for an awareness in harmony with the world’s process, a necessary awareness for progress in improving this disappointing time for the development of human potential.

A Dog’s Heart
Dutch National Opera
Libretto by Cesare Mazzonis
based on a novella by Mikhail Bulgakov

The Other in You
The Other in You, developed as a new way to experience dance, has realized a novel dance audience experience. We assembled the cutting-edge Computer Graphics, haptic feedback device which directly express the dance to the body, 16 stereophony channels sound and research on Virtual Reality techniques to realize this work. How can we relate to others, who are supposed to be distant from us? Do we really know what it is to “see”? The Other in You is an attempt to revive the notion of our body in relation to an object, a notion, which had been forgotten in the act of watching. Virtual reality technology enables us to bring the act of watching, once detached from the body, back to where it belongs. And as a result, it reconstructs the notion of “seeing“.

The Sky over Nine Columns
Heinz Mack has developed a genuine language of light and colour since the 1950s and is a leading exponent of kinetic art. The concept of ‘Light Stele’, to which ‘The Sky Over Nine Columns’ refers, was first formulated by Mack in the late 1950s in his Sahara Project. His works in public spaces – whether in urban settings or nature – are always conceived as objects for light: “Light is decisive for my art. As far as light is concerned, I want to go to the limits of the possible.” (Heinz Mack)

on the water edge

bright yellow house on water

An interest in architecture and coastal living led Casebere to develop the project, which is a follow up to a set of images he created in 2016 based on the buildings of Luis Barragán. Casebere created the series titled On the Water’s Edge to draw attention to issues relating to climate change and, in particular, the need for humans to respond creatively to the threat posed by rising sea levels.

Toyota Motor Corporation
Toyota has revealed its third generation humanoid robot, the T-HR3, which can be controlled and synchronized with the operator’s movements. The user wears data gloves and an HTC Vive VR headset that’s linked to cameras to show the robot’s perspective. T-HR3 stands 1.54 meters tall and weighs 75kg ( 5 feet, 1 inches / 165 pounds) and was developed to explore the possibility of assisting humans in the home, medical facilities, construction sites, disaster areas, and even in space.more…

振り子の合唱団
CYCLOID-E

This piece, which comprises a series of tubular pieces arranged horizontally and activated by a motor, generates a particular sound through its movement, which is unexpectedly harmonic. The artists have taken their interest in the mechanisms that generate wave motions as a starting point to create this sculpture: five metal tubes joined together feature sound sources and sensors that allow them to emit different sounds based on their rotations.
The sculpture runs through a series of rhythmic movements, like a dance, creating, in the words of the artists themselves, “a unique kinetic and polyphonic work, in the likeness of the “Cosmic Ballet” to which the physicist Johannes Kepler refers to in his “Music of the Spheres” in 1619.” This work is part of the reflection on the possible interactions between sound and movement developed by the artists since 1999, using electronic devices and inspired by the aesthetics of industrial machinery.