P_wall (the self-organization of material)
P_Wall (2009) was commissioned by the SFMOMA Architecture and Design Curator Henry Urbach for the exhibition Sensate: Bodies and Design. The wall, part of a series started with P_Wall (2006), is an evolution of the earlier work exploring the self-organization of material under force. Using nylon fabric and wooden dowels as form-work, the weight of the liquid plaster slurry causes the fabric to sag, expand, and wrinkle.


The Robotic Chair
The Robotic Chair is a generic-looking wooden chair with the capacity to fall apart and put itself back together. With shuddering force, the chair collapses to the floor. With persistence and determination, it proceeds to seek out its parts and upright itself. Powered by MICROMO coreless dc motors, The Robotic Chair is distinguished in the world of objects for its capacity to elicit empathy, compassion and hope.

Carsten Nicolai

reflektor distortion

The installation reflektor distortion – conceived as a rotating, water-filled basin – is inspired by the shape of a parabolic mirror that ‚rotates‘ water via centrifugal force. The work consists of the three main components mirror, reflection and distortion. Both curve and distortion of the water surface is affected by speed and integrated resistors that generate a permanently new and re-organizing mirror reflection. The water surface will be supplementary distorted via speaker by resonating low sound frequencies. The function of the mirror is hereby eminent: The mirror surface is the medium that reveals reality as distorted reflection. Rising the question of the observed and the real image the installation plays with the artist’s thesis that we all have a permanent distorted perception of reality.


Thorsten Fleisch creates films that reveal the shapes and patterns of natural forces and phenomena. In this work he reveals what energy in one of its simplest forms looks like in motion. Energie! is a sequence of still images created on light-sensitive photographic paper. The artist exposed dozens of sheets of paper to enormous electrical discharges, each leaving its imprint as a trail of light. Animating these images reveals patterns in their flow of energy, akin to tracing the flow of electricity at each moment of a lightning strike. As the images are photographs created without cameras, they are records of single moments. Accordingly we see dozens of split-second documents animated to reveal the shape and power of energy.

David O’Reilly

Everything is an interactive experience where everything you see is a thing you can be, from animals to planets to galaxies and beyond. Travel between outer and inner space, and explore a vast, interconnected universe of things without enforced goals, scores, or tasks to complete. Everything is a procedural, AI-driven simulation of the systems of nature, seen from the points of view of everything in the Universe.

Nicholas Stedman

After Deep Blue

ADB is a modular robot designed for tactile interactions with people. It is composed of a chain of prism-shaped robotic modules. Through the modules’ coordinated behavior, the robot writhes, wriggles and twists in response to the presence of skin and force. The robot is animated only when actively engaged by a person, otherwise it is at rest. Stroking, rubbing or grasping ADB results in it pushing back, retreating or occasionally grasping onto a body part, depending on the combination of stimulus. Participants may experience the object at their leisure. They can play with the device, exploring how it feels, and how it responds to their touch.


جوزيف سفوبودا
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 “.

tangible media group

Ken Nakagaki, Yingda (Roger) Liu, Chloe Nelson-Arzuaga, and Hiroshi Ishii
TRANS-DOCK is a docking system for pin-based shape displays that expand their interaction capabilities for both the output and input. By simply interchanging the transducer modules, composed of passive mechanical structures, to be docked on a shape display, users can selectively switch between different configurations including display sizes, resolutions, and even motion modalities such as rotation, bending, and inflation.
In our paper accepted to TEI 2020, we introduce a design space consisting of several mechanical elements and enabled interaction capabilities. Our proof-of-concept prototype explores the development of the docking system based on our previously developed 10 x 5 shape display, inFORCE. A number of transducer examples are shown to demonstrate the range of interactivity and application space achieved with the approach of TRANS-DOCK.


روب مولهولاند
롭 멀홀랜드
Роб Малхолланд

Rob studied at Edinburgh College of Art and graduated with a BA [Hon ] degree in 1986[…] His work explores the human relationship with the wider environment. His approach is not judgmental, more reflective and questioning about the ever-changing world around us. The human desire to leave a trace of ones-self for future generations has always intrigued him. It’s a driving force to create and leave a semblance of our-selves as individuals and as a society. The reflective figures ask us to look again and consider the symbiotic relationship we have with our natural and man-made environment.

Maxim Zhestkov

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.

Christopher Meerdo

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.

Oleg Soroko

Digital Substance

The parametric technology allows to generate a self-organizing system, that is, to open the essence of the universe as an infinite variety of possible self-organizing systems. The world is in constant process of self-development, but it is not chaos and not a set of known forms (cube, sphere, cylinder, from which you can build everything as Cezanne believed). Everything in the world (in the physical, biological and other reality) is in fluid, flexible, flowing, accelerating and decelerating movements that create tension, tears, force fields. And they are amazingly beautiful (attractors and fractals are their individual symptoms) and they exist before form and after form. It is not a solid, or lines in a space, but something that stands before and after the space.

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.

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.”



Takis cherche à matérialiser des forces secrètes et mystérieuses, comme l’électricité ou le magnétisme, en les révélant par les mouvements qu’elles induisent ou les sons qu’elles produisent.
Il y a de la magie à voir bouger des objets durs et lourds, mus par une force obscure, soulignée par un dispositif plastique. Ses œuvres sont des pièges à énergie.


Globe of Science and Innovation
History of the universe
Did you know that the matter in your body is billions of years old?

According to most astrophysicists, all the matter found in the universe today — including the matter in people, plants, animals, the earth, stars, and galaxies — was created at the very first moment of time, thought to be about 13 billion years ago.
The universe began, scientists believe, with every speck of its energy jammed into a very tiny point. This extremely dense point exploded with unimaginable force, creating matter and propelling it outward to make the billions of galaxies of our vast universe. Astrophysicists dubbed this titanic explosion the Big Bang.
The Big Bang was like no explosion you might witness on earth today. For instance, a hydrogen bomb explosion, whose center registers approximately 100 million degrees Celsius, moves through the air at about 300 meters per second. In contrast, cosmologists believe the Big Bang flung energy in all directions at the speed of light (300,000,000 meters per second, a million times faster than the H-bomb) and estimate that the temperature of the entire universe was 1000 trillion degrees Celsius at just a tiny fraction of a second after the explosion. Even the cores of the hottest stars in today’s universe are much cooler than that.
There’s another important quality of the Big Bang that makes it unique. While an explosion of a man-made bomb expands through air, the Big Bang did not expand through anything. That’s because there was no space to expand through at the beginning of time. Rather, physicists believe the Big Bang created and stretched space itself, expanding the universe.


The Creator

Decades ago, Turing famously asked, ‘Can machines think?’ and ever since, the notion of computers exceeding human intelligence has transfixed researchers and popular culture alike. For their fantastical Turing interpretation, the directors conjoin Lynchian nightmare with the prophetic themes of J.G. Ballard. Audiences will enter the haunting dream world of the legendary scientist, who gave birth to the computer age. Turing’s binary children embark upon a mystical odyssey to explore their creator’s dream diaries in a quest to discover their origins and destiny in the universe.
Probing the infinite possibilities of technology, AL and AL investigate the shaping forces of fantasy and reality. Having established themselves as pioneering artist filmmakers, they combine performance with computer-generated 3D environments to create dream worlds.