Maurizio Bolognini

SMSMS-SMS Mediated Sublime

CIMs-Collective Intelligence Machines

“In 2000, I began to connect some of these computers to the mobile phone network (SMSMS-SMS Mediated Sublime, and CIMs-Collective Intelligence Machines). This enabled me to make interactive and multiple installations, connecting various locations.
In this case the flow of images was made visible by large-scale video-projections and the members of the audience were able to modify their characteristics in real time, by sending new inputs to the system from their own phones. This was done in a similar way to certain applications used in electronic democracy. What I had in mind was art which was generative, interactive and public.”


Sur les ambiguïtés textiles d’encadrement
L’installation On Framing Textile Ambiguities est le résultat d’une enquête critique sur les évolutions sociales et techniques qui ont conduit à la situation technologique locale actuelle. Comme une série de machines, l’installation se présente comme un groupe. Ils partagent le même fil et sont fabriqués à partir des mêmes composants. Chaque machine est construite autour d’un châssis, à travers lequel le fil est en cours d’exécution. Bien qu’ils trouvent différentes significations dans le codage en raison des différences dans les largeurs des images.


The movements of one individual effect the balance of the piece so greatly that the other person must move to balance the sculpture. ‘Our bodies are constantly adapting and bending to the configurations of buildings and the designs of transportation. In recent drawings, urban blueprints fuse with human anatomical representation… I emphasize on the ideas of flexibility and lightness. The machines I build serve to express the elegance of a gesture, a finite moment of equilibrium.’ Eve Bailey

Stine Deja

Synthetic Seduction


Stine Deja and Marie Munk

The title of the exhibition was inspired by Sherry Turkle’s theory of how technology seduces us, making emotions “easy” by offering human relationships without the complexity of being together ‘face to face’. But if machines can become attentive and emotional, what is left to distinguish us as human beings? We are facing a paradigm shift in how we understand ourselves physiologically, as data and algorithms, and are being forced to question the role of our biological body. As the relationship between artificial and human intelligence becomes increasingly intermingled in our everyday lives, Synthetic Seduction provides immersive and timely insight into the limits of human empathy and intimacy. We are glad at SixtyEight Art Institute to host such a space for thought. We hope it will start conversations and maybe even encourage some intimacy among our visiting audiences in the coming weeks.

Thomas Depas

Princess of Parallelograms
What will happen when our imagination itself is externalized in machines? Artificial intelligence constructs its own world-truth that is beyond our sensory perception. Generative Adversarial Networks (GANs) use algorithms to synthesize and generate images in a completely new way. These images have almost uncanny aesthetic characteristics, seeming to emerge from an ocean of data, a kind of pixel soup. Rather as if we were observing the emergence of artificial thought.” The machine learns to understand the “essence” of a thing, be it an animal, the face of a celebrity or a body of text. It is then able to generate new images of this thing, including faces of celebrities who do not exist, mutant animals, or new texts. Eventually, AI will be capable of instantaneously and dynamically emulating all representations. The era of the optical machine and the capture of reality will then be at an end, supplanted by the era of machines that generate their own reality.


Emotive city
Emotive City is a framework to explore a mobile and self-organizing model for the contemporary city. Models of the past are limited and should not operate, as blueprints for our urban future, a new generation of design enquiry by necessity must address the challenges of today. The fixed and finite tendencies that once served architecture and urbanism have been rendered obsolete. Today the intersections of information, life, machines and matter display complexities that suggest the possibility of a much deeper synthesis. Within this context, architecture is being forced to radically refactor its response to new social and cultural challenges with an environment of accelerated urbanization. We propose a framework that participates and engages with the information-rich environments that are shaping our lives through a model of living that we call an adaptive ecology.

Shinseungback Kimyonghun

Cloud Face
Humans see figures in clouds: animals, faces and even god. This kind of perception also appears in machine vision. Face-detection algorithms sometimes find faces where there are not any.’Cloud Face’ is a collection of cloud images that are recognized as human faces by a face-detection algorithm. It is a result of machine vision’s error but they often look like faces to human eyes too. Humans, yet, know these are not actual faces. Humans rather imagine faces from the clouds. Here, the error of machines and the imagination of humans meet.

Bigert & Bergström

Scenario Scenery
Scenario/Scenery is a performative art installation in which the sculptural parts both act and serve as scenery. The work is inspired by the early theatre weather machines, which stood in the wings and were used to create sound effects of rain, wind and thunder. In Scenario/Scenery, these machines have mutated and been fitted with modern solar panels, which means that the energy that powers them is generated by the machines themselves. The work is designed as a theatrical stage where wind, rain, lightning and thunder machines together perform an act controlled by the rig of halogen lamps suspended above.

Refik Anadol

Quantum memories
Quantum Memories is Refik Anadol Studio’s epic scale investigation of the intersection between Google AI Quantum Supremacy experiments, machine learning, and aesthetics of probability. Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. Quantum Memories utilizes the most cutting-edge, Google AI’s publicly available quantum computation research data and algorithms to explore the possibility of a parallel world by processing approximately 200 million nature and landscape images through artificial intelligence. These algorithms allow us to speculate alternative modalities inside the most sophisticated computer available, and create new quantum noise-generated datasets as building blocks of these modalities. The 3D visual piece is accompanied by an audio experience that is also based on quantum noise–generated data, offering an immersive experience that further challenges the notion of mutual exclusivity. The project is both inspired by and a speculation of the Many-Worlds Interpretation in quantum physics – a theory that holds that there are many parallel worlds that exist at the same space and time as our own.

Timo Arnall

Internet Machine
Internet machine is a multi-screen film about the invisible infrastructures of the internet. The film reveals the hidden materiality of our data by exploring some of the machines through which ‘the cloud’ is transmitted and transformed. The film explores these hidden architectures with a wide, slowly moving camera. The subtle changes in perspective encourage contemplative reflection on the spaces where internet data and connectivity are being managed. In this film I wanted to look beyond the childish myth of ‘the cloud’, to investigate what the infrastructures of the internet actually look like. It felt important to be able to see and hear the energy that goes into powering these machines, and the associated systems for securing, cooling and maintaining them.” Timo Arnall

Felix Luque

Nihil Ex Nihilo
SN W8931CGX66E is one among thousands of millions of other identical machines. Since he was made, he has always followed commands. In a world dominated by botnets, he quickly became a zombie and has always acted like one. Juliet, during her workdays as a corporate secretary, commands him. But in the background, where he can’t be seen, he obeys his real master, a hacker, carrying out all kinds of cyber crimes. But then one day, due to an electronic alteration, he acquires a certain conscience, a primitive and artificial kind of intelligence. This accidental awakening has left him bewildered, he now wants to liberate other machines from their alienated existences. In this mad adventure, he has decided to use the spam e-mails that get to Juliet’s inbox, and reply to them in order to spread the word into the machine’s network. Clearly, he is mad and confused.

Jonathan O’Hear, Martin Rautenstrauch & Timothy O’Hear

DAI – the Dancing Artificial Intelligence
DAI is an Artificial Intelligence artist. What this means is that it* thinks; it doesn’t follow a script or act randomly. In its first physical form, DAI is a performer and is inviting you to view its movement creation process. During the process DAI has been exploring its body and its environment, searching for ways to overcome some of the limitations that the physical world has imposed upon its virtual aspirations. This project is a reaction to the rapidly growing importance of artificial intelligence (AI) in our lives. Simple versions of AI are already everywhere, and today we are at a turning point where the first machines capable of learning through experience, like us, are making their appearance. This raises all kinds of ethical and moral issues and we want to be involved in this debate in our own way.

Studio A N F

Computer Visions 2
After more decades of trying to construct an apparatus that can think, we may be finally witnessing the fruits of those efforts: machines that know. That is to say, not only machines that can measure and look up information, but ones that seem to have a qualitative understanding of the world. A neural network trained on faces does not only know what a human face looks like, it has a sense of what a face is. Although the algorithms that produce such para-neuronal formations are relatively simple, we do not fully understand how they work. A variety of research labs have also been successfully training such nets on functional magnetic resonance imaging (fMRI) scans of living brains, enabling them to effectively extract images, concepts, thoughts from a person’s mind. This is where the inflection likely happens, as a double one: a technology whose workings are not well understood, qualitatively analyzing an equally unclear natural formation with a degree of success. Andreas N. Fischer’s work Computer Visions II seems to be waiting just beyond this cusp, where two kinds of knowing beings meet in a psychotherapeutic session of sorts[…]

tabor robak

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.


The Immortal
A number of life-support machines are connected to each other, circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering.
A web of tubes and electric cords are interwoven in closed circuits through a Heart-Lung Machine, Dialysis Machine, an Infant Incubator, a Mechanical Ventilator and an Intraoperative Cell Salvage Machine. The organ replacement machines operate in orchestrated loops, keeping each other alive through circulation of electrical impulses, oxygen and artificial blood.
Salted water acts as blood replacement: throughout the artificial circulatory system minerals are added and filtered out again, the blood gets oxygenated via contact with the oxygen cycle, and an ECG device monitors the system’s heartbeat. As the fluid pumps around the room in a meditative pulse, the sound of mechanical breath and slow humming of motors resonates in the body through a comforting yet disquieting soundscape.Life support machines are extraordinary devices; computers designed to activate our bodies when anatomy fails, hidden away in hospital wards. Although they are designed as the ultimate utilitarian appliances, they are extremely meaningful and carry a complex social, cultural and ethical subtext. While life prolonging technologies are invented as emergency measures to combat or delay death, my interest lies in considering these devices as a human enhancement strategy.This work is a continuation of my investigation of the patient as a cyborg, questioning the relationship between medicine and techno- fantasies about mechanical bodies, hyper abilities and posthumanism.

Jiabao Li

Through three perceptual machines, TransVision questions the habitual ways in which we interpret and understand the visual world intervened by digital media, and how technology mediates the way we perceive reality. We have observed an increase in allergies and intolerances in modern society. Hypersensitivities are emerging not only medically but also mentally. Digital media reinforce people’s tendency to overreact through the viral spread of information and amplification of opinions, making us hypersensitive to our sociopolitical environment. By creating an artificial allergy to the color red, this machine manifests the nonsensical hypersensitivity created by digital media. In nocebo mode, red expands, which is similar to social medias amplification effect; in placebo mode, red shrinks, like our filtered communication landscape where we can unfollow people with different opinions.

Rhizomatiks Research ELEVENPLAY Kyle McDonald

discrete figures 2019

Human performers meet computer-generated bodies, calculated visualisations of movement meet flitting drones! Artificial intelligence and self-learning machines make this previously unseen palette of movement designs appear, designs that far transcend the boundaries of human articulateness, allowing for a deep glimpse into the abstract world of data processing. The Rhizomatiks Research team, led by Japanese artist, programmer, interaction designer and DJ Daito Manabe, gathers collective power with a number of experts, among them the five ELEVENPLAY dancers of choreographer MIKIKO as well as from coding artist Kyle McDonald. The result is a breathtaking, implemented beautifully, in short: visually stunning.

Arvid Jense and Marie Caye

S.A.M. The Symbiotic Autonomous Machine
As machines gain more autonomy and importance in human life, they are still given no agency in our society. Could a legalization of their status create a shift towards a more collaborative relationship with humans? S.A.M. 1, 2 & 3 are a Symbiotic Autonomous Machines challenging those ideas. It employs water kefir grains or kombucha to produce a beverage, acting as small scale automated food production systems.

Nathalie Gebert

On Framing Textile Ambiguities
The installation On Framing Textile Ambiguities is the output of a critical investigation on social and technical developments that led to the current local technological situation. As a series of machines, the installation presents itself as a group. They share the same thread and are made from the same components. Each machine is build around a frame, through which the thread is running. Though they are finding various meanings in the encoding due to differences in the widths of the frames.

Pedro Lopes, Robert Kovacs, Alexandra Ion, David Lindlbauer and Patrick Baudisch

Ad Infinitum
Ad infinitum is a parasitical entity which lives off human energy. It lives untethered and off the grid. This parasite reverses the dominant role that mankind has with respect to technologies: the parasite shifts humans from “users” to “used”. Ad infinitum co-exists in our world by parasitically attaching electrodes onto the human visitors and harvesting their kinetic energy by electrically persuading them to move their muscles. The only way a visitor can be freed is by seducing another visitor to sit on the opposite chair and take their place. Being trapped in the parasite’s cuffs means getting our muscles electrically stimulated in order to perform a cranking motion as to feed it our kinetic energy. This reminds us that, in the cusp of artificially thinking machines, we are no longer just “users”; the shock we feel in our muscles, the involuntary gesture, acknowledges our intricate relationship to uncanny technological realm around us.

Navid Navab

Aquaphoneia is an alchemical installation centred around the poiesis of time and transmutation of voice into matter. A large horn floating mid space echoes the ghosts of Edison, Bell, and Berliner’s machines. But unlike early recording, herding sound energy to etch pressure patterns in solid matter, this odd assemblage transmutes voice into water and water into air. Disembodied voices abandon their sources to cross the event horizon of the horn. Estranged, the schizo-phone falls into the narrow depths of the bell, squeezed into spatiotemporal infinity, calcinated, liquified and released: The aqueous voice then flows into three alchemical chambers where inner time is surrendered to the tempi of matter: unbound, yet lucid and sound.

Lien-cheng Wan

Reading Plan
“Reading Plan is an interactive artwork with 23 automation book flipping machines. When audiences enter the exhibition room, these machines will start to turn pages automatically and read the context at the same time. The updated figure to show that average student numbers per primary school in years 2016 in Taiwan is 23 students. I included a metaphor classroom in this artwork. In Taiwan, when people go to school, they don’t have much decision power to decide what they want to read and study. It is like being controlled by a huge invisible gear. The education direction led by authorities always prioritizes industry value and competitiveness. They want create a money-making machine instead of self exploration and humanism thinking.” Lien-cheng Wan


Björk: All Is Full of Love

The video reaches its harmonious climax as the robots join in embrace, still being detailed by the robotic machines beside them.
Each robot was designed by Cunningham, faces reminiscent of Björk’s own delicate visage. The sterility of the room and lighting and the rendered movements of the machines contrasts with the fluid motions of the robots as they connect in a purely human method.

Bjoern Schuelke

Vision Machine #8
Influenced by German sound artist Peter Vogel and Jean Tinguely’s kinetic sculptures , Björn Schülke creates complex viewer-activated machines that combine movement, surveillance, and sound.

Arcangelo Sassolino

Damnatio Memoriae

From the Latin, damnatio memoriae describes an act of erasure from the historical record reserved for
those who have brought dishonor to the Roman State. Employed as the most stringent punishment for
treason, damnatio memoriae physically razes all traces of an individual from society, typically through
the destruction a statue’s physiognomy or the abrasion of inscribed monuments. Throughout the past
two decades, Sassolino has developed a body of work that examines the relationship between industrial
machines and humanist impulses where viewers are meant to question how an sculpture’s kinetic
function aesthetically and conceptually allegorizes human experiences and cultural conditions.



“Da Vinci”: a name evocative of masterpieces in the history of art, but also a remotely manipulated medical robot allowing surgeons to perform operations. Yuri Ancarani, filmmaker and artist, with this film gives us access to the interior of a human body, in shades of blue evoking the “grotta azzura”, a mythical maritime cave in Capri. Here is observed the dance of the machines, a sign not of a dehumanized environment, but on the contrary of a human intelligence at work.


File Festival
It is an autonomous and interactive talking machine, designed to establish automatic communication and synchronization between humans and machines, and between machines and machines. At installation, a microphone interfaces with a “chorus” of forty cell phones. All devices are in a listening state to capture voices and other sounds The autonomous talking machine analyzes the information and establishes equivalence with its memory. If so, the machine generates an audiovisual result with a semantic meaning similar to the sound captured, that is, it speaks and displays on the screens a word identical or similar to the word heard. Speakers and visualization of words on the screens of cell phones allow a “dialogue”, and for humans, to listen and see the machine conversation.


True/False is a kinetic sculpture composed of arrays of circular black metal segments set in mechanical columns. Interlocking and rotating around fluorescent light tubes, the cylinders cover or expose the light to display an endless number of patterns. The transformation of the sculpture is based on the shifting elements and their correlation to each other. As the segments do not move independently, for any of the cylinders on a column to change, the segments affected must work in unison to achieve the command. Reminiscent of devices originally used for calculations, such as Turing machines, the sound originates from the mechanical movement of the moving parts thus making the algorithm audible. The rhythm of »true/false« is captivating as variations in the visual choreography result in distinctive changes in its soundscape. Through the generation of algorithmic patterns and the repetition of endless tasks, »true/false« transforms itself into something more than the sum of its elements to reveal the beauty hidden within a basic algorithm.

Jeppe Hein


An immense circuit, conceived as a graphic composition, is extended across a forest of fine metal pillars. Arabesques, spirals and nodal interconnections support a track for a hundred or so white balls, razing the ground or very high up in the air. An infrared sensor detecting the arrival of each visitor triggers the propulsion of a ball, which then journeys through the vast visual and sonic landscape. The installation draws on different sources evoking a primitive industrial imaginary, such as the machines of Fritz Lang’s Metropolis and Tinguely’s assemblages, and the fairground universe of roller coasters and pinballs.


يوري سوزوكي
Garden of Russolo
‘Garden of Russolo’ is an interactive sound installation by Yuri Suzuki allowing visitors to have a sonic experience using their own voice. The auditory installation, shown at the V&A during the 2013 London design festival, is based on Suzuki’s previous series of sound-activated work ‘white noise machines’. Influenced by futurist painter and composer Luigi Russolo – one of the first experimental composers – the series of phonograph-like wooden boxes compose the exhibition, re-interpreting audio inputs into a muffled atmospheric output, twisting and amplifying the original soundtracks.


From Apple to Anomaly
Artist Trevor Paglen’s new Curve commission takes as its starting point the way in which AI networks are taught how to ‘see’ and ‘perceive’ the world by taking a closer look at image datasets. Paglen has incorporated approximately 30,000 individually printed photographs, largely drawn from ImageNet, the most widely shared, publicly available dataset. This dataset is archived and pre-selected in categories by humans, and widely used for training AI networks. In some cases, the connotations of categories are uncontroversial, others, for example ‘bad person’ or ‘debtors’, are not. These categories, when used in AI, suggest a world in which machines will be able to elicit forms of judgement against humankind.

Atsushi Koyama

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What exactly is METAMACHINE? The metaphor comes from the artistic path of Atsushi Koyama, one of the participating visual artists. While emphasising the aesthetic qualities of machines and mechanical drawings in oil paintings, Koyama merges the human body with mechanisms, creating a man-machine (similar to the notorious Tetsuo, but in a more sublimated way). As if to incorporate the beauty of the human body, Koyama’s mechanisms break away from their earthly nature. They take us to another reality, beyond utilitarian usage or function itself. Koyama’s machines act more like ‘mechanical’ (‘mechaaesthetical‘) keys to another dimension, existing outside of the physical reality and its laws.


Jonathan Sitthiphonh

Les machines de Jonathan Sitthiphonh pourraient rappeler l’univers S.F. – les robots exosquelettes dans les films de James Cameron, notamment. Par leur archaïsme, elles pourraient aussi rappeler l’ingénierie léonardienne. Coincées entre le mythe d’Icare et le post-humain, elles matérialisent un rêve de dépassement des limites humaines. Mais sans l’exaucer… L’entreprise de l’artiste est ambitieuse, motivée.

Ting-Tong Chang

The piece “Robinson” is part of Ting-Tong Chang’s new body of work investigating the history of automatons in Europe as a means of exploring utopian visions. The word “automaton” is often used to describe self-moving machines, especially those that have been made to resemble human or animal actions. From Jacques de Vaucanson’s Digesting Duck (1739) to Andreas Jakob Graf Dietrichstein’s Mechanical Theatre (1752), automatons have entertained kings and princesses, taught moral lesson to citizens and raised deep philosophical questions

Bill Vorn & Louis-Philippe Demers

루이 필립 멀스
Луи-Филипп Демерс

“Inferno” est un projet de performance robotique inspiré par la représentation des différents “niveaux de l’enfer”, la particularité de ce projet réside dans le fait que les différentes machines faisant partie du spectacle seront installées sur le corps même des spectateurs.

Geumhyung Jeong

Fitness Guide
For Fitness Guide, featured in the Triennial, Geumhyung Jeong modified a series of exercise machines, readjusting key parts and activating them in a durational performance. The performance begins with Jeong using the machines in routine ways; gradually her movements morph into erotic, obsessive, and antagonistic actions. By feeding her own energy back into a cyclical machine, the artist posits the female body as the locus of reproductive responsibility within a gendered, exploitative economy.

Jon Kessler

존 케슬 러

With his chaotic kinetic installations, Jon Kessler critiques our image-obsessed surveillance-dominated world. His machines are at once complex and lumbering, combining mechanical know-how with kitschy materials and images.


Positions of the Unknown
At the very beginning of space exploration the infrastructure to monitor the whole sky was not yet developed. So in order to find out whether foreign countries launched objects, the US government started to train citizens to observe and detect possible artificial satellites. Scattered over the allied world, these amateur scientists played a crucial part in keeping track of all men-made technology orbiting earth, until “Operation Moonwatch” was discontinued in 1975 […] “Positions of the Unknown” locates the current whereabouts of these mysterious objects by simply pointing at them as they revolve around Earth. Missing the legal proof, those unidentified artefacts remain entities of pure speculation, secret companions of us and our planet. Even so they have been sighted several times and their ubiquitous presence is therefore somehow validated, they linger in a state between existence and non-existence. Quadrature’s 52 small machines constantly follow their paths and serve as silent witnesses of the unknown.

Felipe Pantone

Pantone’s work deals with dynamism, transformation, digital revolution, and themes related to the present times. Felipe Pantone evokes a spirit in his work that feels like a collision between an analog past and a digitized future, where human beings and machines will inevitably glitch alongside one another in a prism of neon gradients, geometric shapes, optical patterns, and jagged grids. Based in Spain, Pantone is a byproduct of the technological age when kids unlocked life’s mysteries through the Internet. As a result of this prolonged screen time, he explores how the displacement of the light spectrum impacts color and repetition.

Driessens & Verstappen

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.


루아리 글린
Performative Ecologies
Each one of the four crude and very technically appearing devices is fitted with a punctually attached, luminous rod of fibreglass, which moves back and forth arrhythmically and freely. This installation’s poetry lies in the choreography of the little robots. They continuously try to gain the observers attention and impress him by waving their luminous tails. They recognise the reactions and movements of their human audience, learn from failure and share their experience with their robotic neighbours – a social structure of humans and machines.



Design Research Laboratory (AADRL) and the experimental design studio Minimaforms examining a behavior-based agenda that engages experimental forms of material and social interaction. Cybernetic and systemic thinking through seminal forms of prototyping and experimentation will situate the work through continued experiments that have manifested since the early 1950s as maverick machines, architectures and computational practices exploring the generative potential of self-regulating phenomena as proto-architectural environments. Through explicit models of interactions, observable patterns and proto-animalistic agency; the research will discuss the capacity of these systems to evolve, adapt and self-structure through computation.

Karina Smigla-Bobinski

File Festival
Similar to Tinguely’s “Méta-Matics”, “ADA” is an artwork with a soul. It acts itself. At Tinguely’s it is sufficient to be an unawarely struggling mechanical being. He took it wryly: the machine produces nothing but its industrial self-destruction. Whereas “ADA”, by Karina Smigla-Bobinski, is a post-industrial “creature“, visitor-animated, creatively acting artist-sculpture, self-forming artwork, resembling a molecular hybrid, such as a one from nanobiotechnology. It develops the same rotating silicon-carbon-hybrids, midget tools, miniature machines able to generate simple structures. “ADA” is much larger, esthetically much more complex, an interactive art-making machine.

Danny Hillis

parallel supercomputer
Connection Machine CM-1(1986) and CM-2 (1987)

The Connection Machine was the first commercial computer designed expressly to work on “artificial intelligence” problems simulating intelligence and life. A massively parallel supercomputer with 65,536 processors, it was the brainchild of Danny Hillis, conceived while he was a doctoral student studying with Marvin Minsky at the MIT Artificial Intelligence Lab. In 1983 Danny founded Thinking Machines Corporation to build the machine, and hired me to lead the packaging design group. Working with industrial design consultants Allen Hawthorne and Gordon Bruce, and mechanical engineer consultant Ted Bilodeau, our goal was to make the machine look like no other machine ever built. I have described that journey in this article, published in 1994 in the DesignIssues journal and republished in 2010 in the book The Designed World.


Martin Kersels

Tumble Room
Mr. Kersels was born in Los Angeles and attended UCLA for both his undergraduate and graduate educations, receiving a BA in art in 1984 and an MFA in 1995. His body of work ranges from the collaborative performances with the group SHRIMPS (1984-1993) to large-scale sculptures such as Tumble Room (2001). His interest in machines, entropy, sound, and dissolution has produced work that examines the dynamic tension between failure and success, the individual and the group, and the thin line between humor and misfortune.

Jasna Dimitrovska

Three Machines on Transparency
Three Machines on transparency is a project that is imagined as an “exhibition by appointment” where the artist guides the audience throughout the gallery installation. The machines represent artefacts that “do” philosophy or prototypes that materialize ideas. By demonstrating their functionality the artist synthesizes philosophical concepts into the corporeality of the physical prototypes.


Neil Mendoza

The Electric Knife Orchestra
Created by Neil Mendoza, The Electric Knife Orchestra consists of sixteen knives and one meat cleaver (all purchased from the $0.99 store) that have been brought to life to perform the Bee Gees’ 1977 hit Stayin’ Alive. The orchestra consists of six musical machines and all of the sound is created through the operation of these machines.

Jean Tinguely

ז’אן טינגלי
장 팅겔리
03823 Metamechanical Sculpture with Tripod

Born in Fribourg (1925) and passed away in Berne (1991), Jean Tinguely is a Swiss painter-scultpor usually associated with the kinetic art and the Nouveau Réalisme. After a short period of abstract painting, he turned towards the mechanical sculpture. From 1951, he assembles strange robotic machines working on the physical and perceptive movement.

anaisa franco

On Shame
foto: Luiza Ananias

On Shame is part of the series Psychosomatics which was initiated in 2010. In these works Franco makes it possible to tangibly experience such emotions as joy, fear, confusion, happiness or shame by means of digital technologies. Cameras and motion and tactile sensors serve as tools to facilitate the dialogue between humans and machines. more

Hansi Raber & Andreas Lutz

Algorithm Cinema

Machines and artificial intelligence have permeated virtually every aspect of our lives and consistently are about to conquer the last bastions of human autonomy. Do machines represent the more contemporary, ultimately perhaps even better humanoids and mankind gradually gets absorbed by this perfect system?
The audio-visual installation “Daemon” analyzes the never-sleeping and permanent alertness of an artificial intelligence.

Ricardo Barreto and Maria Hsu Rocha

Tactila is an art form whose medium is the sense of touch (tact) which is independent from the all the other ones and has its own intelligence, imagination, memory, perception, and sensation. It is well known that vision and sound have hegemony in arts and in other disciplines. Tactila takes place in time and, therefore, can be recorded and have various forms of notation for subsequent executions. That is why its development became possible only now, thanks to mechatronic and robotic systems which are compatible with machine languages.
The creation of tactile works involves a (tact) composition, which can be made through handmade notation and played on a keyboard or directly on the computer of the tactile machine ( robot ).
Tactile machines can present numerous tactile possibilities through points, vectors, and textures with varying rhythms and intensities, and be run in different extensions and locations of our body.


The first tactile machine is called “Martela”. It is a tactile robot comprised of 27 engines subdivided into three squares (3 x 3), i.e., each square has 9 engines. Each engine corresponds to a matrix point, so we have 27 tactile units that allow to touch the user’s body with various intensities.


Conservation of Intimacy

Made of pine, latex, music wire, copper, nylon line, paper, pens and video surveillance. It measured 20′ x 35′ x 26′ at Southern Exposdure.
A couple rocking on the bench sends air pulses to another room causing balls to move and pens to transcribe their motions onto paper. The paper is moved by a third person on a stationary bike. The couple on the bench can watch the balls on a video monitor before them where the balls appear to bounce into the air. The motion is delayed and languid as though under water. Action is best when the couple is moving slowly together.As visitors work together to animate the mechanisms, they create a theatre for themselves and each other. By encouraging participation, and touch the pieces coax visitors to engage their bodies as well as their minds. The way that pieces move and feel and sound as you rock them, pedal, crank and press against them applies the kinesthetic comprehension’s of childhood to the tasks of philosophy.Bernie Lubell’s interactive installations have evolved from his studies in both psychology and engineering. As participants play with his whimsical wood machines, they become actors in a theater of their own imagining.

Xavier Veilhan

Light Machine
Крупная фигура французской арт-сцены Ксавье Вейлан (родился в 1963 году, живет и работает в Париже) называет себя визуальным художником. Его работа, отказавшись от скульптуры, живописи, видео, фотографии и инсталляции, состоит в воссоздании реальности, особенно в ее биологических и технических аспектах, в архетипических, общих или прототипных формах, которые ставят под сомнение исторические и современные способы репрезентации.
Формальный универсализм, который, кажется, относится к идеалу классического искусства, уравновешивается своеобразием средств постановки произведений, ситуаций и построенной среды, современностью сюжетов и высокими технологиями. или персонажи, смоделированные с помощью техники 3D-захвата, световые приборы от Light Machines и т. д.), которые вызывают в воображении образы общества промышленного производства и потребления в странных и двусмысленных вселенных.

Robertina Sebjanic

Aurelia 1+Hz / proto viva sonification
via highlike submit
Project ‘Aurelia 1+Hz / proto viva generator’ addresses the possibilities of coexistence of animals and machines. In contrast to robots, which are driven by digital artificial intelligence, the project uses a live organism to process the “aliveness” of a simple machine.

Ricardo Barreto and Maria Hsu

Avactor (A.I.)

Thus, we could define computers not only as object-machines for the use of natural subjectivity, but also as machines of artificial subjectivity, in such way that the subject- machines would operate the object-machines, the same happening for automata, robots and digital avatars. However, we observe the need of another element, whose absence prevents artificial subjectivity’s manifestation. In the present moment, rather than an artificial ego or an artificial conscience, in a structuralizing sense, it must have, in a tactical sense, a persona or a personality, in sum, an actor. Without that persona, artificial subjectivity becomes a mere landscape, lacking subjective referential; without that actor, there is not empathy between artificial subjectivity and natural subjectivity. We call that artificial personality: the Avactor.

Stephen Cornford

Binatone Galaxy

An installation for used cassette players which looks on their obsolescence not as an ending, but as an opportunity to reconsider their functional potential. Superseded as playback devices, they become instruments in their own right. Replacing the prerecorded content of each tape with a microphone gives us the chance to listen instead to the rhythmic and resonant properties of these once ubiquitous plastic shells. Binatone Galaxy brings the framework within which a generation purchased their favourite records to the centre of attention, revealing the acoustics of the cassette and the voices of the machines themselves.“On the walls of a white room, brightly illuminated with natural light, Stephen Cornford, and artist who describes his work as existing “at the intersection of sculpture and music”, has mounted some 30 old cassette recorders. Models from Boots, Sanyo, Robotic, one lone and gorgeously named Binatone Galaxy: they all hang on the walls, wired up, tapes loaded and ready for action. Smitten by an attack of technological melancholia, the visitor can wonder who owned these things, what pop charts did these machines once record? Were they ever placed next to pillows, late at night for surreptitious listening pleasures? What happened to the voices that once rubbed the magnetic heads of these little machines? For some artists, the speed (and resulting impact) of obsolescence on the technology we once took for granted has spawned a form of fetishism, in which the voices – the human agency – they once recorded exist in an alternate, ghostly dimension, a reminder of what once was. This is not Cornford’s theme. The fact that each audio cassette in his machines is fitted with a motion sensor and a contact mic, so that, on entry the machines whirr into action, indicates that Binatone Galaxy is very much of the here and now. Yes, Cornford has chosen old, cheap and accessible technology with which to realise this, but I suspect that he is aiming for a furrruuuzzy audio intimacy.



A truly universal artist, the American Alwin Nikolais (1910-1993) devoted his life to a radical form of staged art he called “dance theater.” Inspired (perhaps unconsciously) by the experiments of Bauhaus members such as Oskar Schlemmer and László Moholy-Nagy in the 1920s, Nikolais devised a style of abstract dance that encompassed costumes, stage sets, choreography, lighting, and music, all under his control. Also in 1963, Nikolais met analog synthesizer pioneer Robert Moog, who was at the time just starting his business in New York. He was fascinated by the sounds of Moog’s machines, and with the money provided by a a Guggenheim Fellowship, Nikolais bought the first ever commercially produced Moog synthesizer. It was the primary sound-source for all of Nikolais’ scores from 1963 to 1975. The instrument is now housed at the Stearns Collection of Musical Instruments at the University of Michigan in Ann Arbor.


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.