The Kinetica Art Fair brings together independent galleries, art organisations and curatorial groups who focus on kinetic, electronic, robotic, sound, light, time-based and multi-disciplinary new media art, science and technology. The art fair features installations, robots and small sculptures but also live performances, artists presentations, demos and a cheerful atmosphere that makes it easy to talk to the 'exhibitors.'
The event takes place in London every year since 2009 but this was the first time i managed to be in town during the fair. Kinetica is as bazaar, as garage and as male-frequented as you might expect. There were a couple of interactive horrors "customizable to better suit the lobby of your luxury hotel", and a few aesthetically questionable contraptions. It takes all sorts, as they say. However, i did see a number of projects which made it worth the visit. Hence the necessity to write two posts. Even so, the list of works i wanted to write about was so long i've cut it drastically.
My favourite piece was without doubt Ronin Cho's Weight of Unseen which i had discovered at La Scatola gallery a few months ago. The kinetic sculpture is activated when a visitor pulls strongly on the chain from the hoist. The yellow number then changes but only a 0 or a 1 will appear, following the 00011010 combination, a binary code meaning end-of-file. In a simple and physical way, Weight of Unseen remind us of the place that the 'immaterial' digital world has taken into our life.
boredomresearch was showing his latest work. And it is as brilliant as you'd expect one of their projects to be. Fragments of Lost Flight which creates wing fragments generated by computational processes inspired by descriptions of Turing's virtual machine known as a Turing Machine. Each wing fragment generated by the 'machine' exists only for the time it is on screen and is unlikely ever to be recreated. In nature the process that leads to familiar forms such as butterfly wings are exposed to intense selective pressure with only those of value for survival remaining, in contrast, 'Fragments of Lost Flight' treats all possibilities equally.
Paul, by Patrick Tresset, is another work i had seen in a London art gallery before. I'm glad Kinetica gave me the opportunity to catch up with all the stories that have remained in a rough draft stage.
Paul is an obsessive face-sketcher. After its camera has scanned your facial feature, its mechanical arm gets into action, drawing your portrait with a ballpoint pen. Its style is similar to Tresset's own panoply. Paul is not the first drawing robot nor the first robots able to draw portraits.
What makes it different from the other drawing robots is that Paul investigates the drawing activity and more precisely face sketching. Paul uses some of the technology developed for the AIkon-II project at Goldsmiths, a research that uses computational modelling and robotics to answer questions such as What can explain that for a non-draughtsman it proves so difficult to draw what they perceive so clearly, while an artist is able to do so sometimes just with a few lines, in a few seconds? Furthermore, how can an artist draw with an immediately recognisable style/manner? How can a few lines thrown spontaneously on paper be aesthetically pleasing? Ultimately, AIkon-II aimed at developing a system that would draw in its own style. Like a human artist.
Here's a video of Paul sketching a portrait the artist:
As what the exhibitors called 'a kind of artistic Turing Test', some of the portraits were drawn/controlled remotely by the artist.
If you're interested in seeing more of The Intuition and Ingenuity exhibition (and you should, it's that good), keep an eye on its website because it will be touring the country over the coming months.
Elsewhere in the fair, the drawing robot party has only just started...
Balint Bolygo was showing Mappings, a rotating mechanized globe with no axis. Entirely black, its surface was slowly being covered with white scribbles. The pen was set in motion by two pendulums, which move whenever people interact with them. The mass of the earth is essentially creating the drawing, with the project playing on the idea of using a fundamental force in an imaginative way.
Shih Yun attaches bristle brushes to small robots and lets them draw motifs on the paper. The strokes are dictated by rules she made up and by using the element of chance from a dice.
Part 2 will be online tomorrow.
Previously: Soundwaves at the Kinetica Museum.
I was planning to post this interview next week but because Ivan Henriques's action plant is yet another brilliant work on show at ArtBots Gent this weekend, i thought it would be silly to wait and not promote the event with a timely post.
Ivan Henriques worked with professor Bert van Duijn (Biology University and Hortus Botanicus in Leiden) on a research into the "action potential" of the Mimosa Pudica. The result of their collaboration is Jurema Action Plant, a machine which interfaces a sensitive plant (Mimosa Pudica), enabling it to enjoy technologies similar to the ones humans use. The project also explores new ways of communication and co-relation between machines, humans, and other living organism.
Plants don't have nerves, wires nor cables but much like humans, animals and machines, they have an electrical signal traveling inside their cells. The plant is fitted with electrodes and placed on a robotic structure. A signal amplifier reads the differences in the electromagnetic field around the plant to determine when it is being touched. Any variation triggers movement of the robotic structure by means of a custom-made circuit board. Touching any part of the plant is enough to make it move away from the person touching it. One of the most common names given to that plant after all is 'touch-me-not.'
If the plants can fell the touch and this signal travels inside the plant and be can be measured in any part, does it means that plants have memory, consciousness?
Imagine if we could communicate with plants and work together. Is it possible to reshape and redefine our tools to be coherent with the environment? Would we keep on destroying the few existent plants/animals and forests?
Hi Ivan! How did you get the idea and why did you want to build this plant-machine and give some power to the plants?
The main idea of empowering the plant comes from a range of work that I am developing called Oritur (Oritur is also the title of the book which is a compilation of texts from myself and invited artists and researchers from different countries - it will be published soon by Verbeke Foundation).
Jurema Action Plant (JAP) is a hacked wheelchair and an electronic board of communication with the Mimosa -- acting as an interface of communication between the bio-machine and us. In order to realize this work I thought about three aspects: biodiversity, plant intelligence and machine intelligence. 1) Creating a new kind of specimen, an assemblage of a plant and a machine -- a hybrid; 2) A simple movement of a finger towards the plant leaves makes it move away after the touch; 3) The plant triggers the hacked machine via the electronic board of communication into movement. While developing this work at the Summer Residency at V2_ Institute for the Unstable Media in Rotterdam/NL, it raised some questions:
Are the mechanics found in some plants species an intelligence? Do plants feel? How do they respond to the environment? Are plants considered in a lower level than us because they don't move and communicate in the same timescale as ours? My position in Jurema Action Plant is to explore plant behavior, research this intelligence to find possibilities for direct interaction and create a work which makes people think about our future.
You're going to spend several months at the Verbeke Foundation for a residency. What are you going to work on there?
At the moment I am rebuilding a piece called Three Seconds which will be part of Verbeke's collection. It is composed of a closed circuit where a video camera, which faces and captures images from a rectangular aquarium containing a live Goldfish, the image is transmitted to a monitor, which has the same proportions of the aquarium and also faces it. Between the camera and the monitor there is an apparatus, which gives a three second delay to the live image. In this way the fish, which as we know has a three second memory-span, can see its recent past, which it would otherwise not be able to reach.
I am very exited to start the residency at Verbeke foundation (which will complete two weeks October 11th) and I have several ideas which are in a cloud of concepts such as architecture, recycle, interaction, biology, evolution, utopia, movement, kinetics and living organisms.
You worked with professor Bert van Duijn from the Biology University and the Hortus Botanicus, in Leiden, to develop the action plant. How was the collaboration going? Do you find it easy as an artist to communicate with a scientist? Do you use the same language, for example? Do you have to adjust to each other's way of working and thinking about nature?
While researching about plants mechanics, physiology and biodynamics, I had the opportunity to meet professor Bert van Duijn who uses a technique called action potential to measure electrical signals that travels inside the plant for agricultural purposes. Through professor van Duijn I met the organization from Hortus Botanicus Leiden which opened their doors to my research about this specific plant and helped me seed the Mimosas. We had to adjust our vocabulary and tools all the time and the whole team had different perspectives and goals when working with nature.
Can you also tell us something about the rhythm of the plant? Sometimes it rests, it doesn't react as fast as the machines we are used to (from toaster to robot)... Do you think humans are ready to accept and respect this 'slowness' of the machine?
Much like humans, animals and machines, plants have an electrical signal traveling inside them, but they do not have nerves like humans and animals; nor wires and cables like machines. Plants are completely independent and can exist without humans, but humans and animals need plants to survive. They are also moving, to extend their territory, but on a very different timescale to ours. Jurema Action Plant has its own time, it is an equalization of ourselves, machines and plants. In my opinion we have to re-think about the machines we develop and the concept of bio-sensors. There are plenty of machines in the world and we keep on making them. Do you know where these electronic components comes from, how they are made and in which conditions? Why not re-use? The machines we create are coherent within themselves but I think that our machines could be much more coherent to the environment. JAP is a prototype of machines for our future, where we can communicate with all the specimens at the same level to achieve a common evolution. Even if we have signs of a catastrophe in the next future due to global warming, war, deforestation, population growth and a very strong economical difference from place to place, I believe in a good future. The problem is not the technological development, but who is in charge of researches, innovations and changes.
What are you doing when you're not working on Jurema Action Plant?
I have some projects going on and I'm preparing new ones, making drawings, graphics, researching about kinetic architectures and motors that run with very low voltage and current. I am also preparing the third edition of EME - Estúdio Móvel Experimental (first edition 2009 and second in 2010), a mobile residency in Rio de Janeiro that works as a platform for artists and researchers to explore and create public artworks/workshops in the natural and urban environment in Rio.
This year's ArtBots is organised by timelab Gent, in cooperation with ArtBots US, Ugent and Foam. It's open only over the upcoming weekend in Ghent, Belgium.
If you miss ArtBots, Jurema Action Plant is also exhibited at the Verbeke Foundation and it will travel to Leiden in October for the Scheltema festival.
Paul Granjon is a facetious French artist living in Wales. When he's not performing wearing a flattering inflatable sumo suit, or organizing parades on Dutch market squares, Granjon builds robots using sausages, cadavers of parrot toys, heaps of fake fur and dolls. But behind the pop and quirkiness, the artist is investigating 'the co-evolution of humans and machines', inviting us to pause and reflect for a moment on our relationship with technology.
Right now, Granjon has a solo show at the Oriel Davies gallery, in Newtown, Wales, where he is presenting Oriel Factory, 'a radical new take on production lines.' He gathered old computers, CD / DVD players, printers, toys, radios and other discarded machines and gave them as raw material to volunteers - the 'Oriel Factory workers'. Together, they broke apart the 'dead tech' and, with the help of advanced home-manufacturing technology, re-composed and re-purposed them as robots and other artefacts for the gallery.
The exhibition forces awareness of the vast quantities of electronic waste produced by our early 21st century consumer society, and highlights the need for renewable energy. The exhibition also gently pokes fun at our fascination with, and endless appetite for new technology and the need to own the latest smart phone or the newest sat nav.
Chris Keenan made video documented the preparation of the exhibition, interviewed the participants and asked Paul Granjon to present his robots:
I talked to the artist as well:
What can gallery visitors expect to see in the gallery? Will the 'production line' still be operative? And will the public see projects that are already documented on your website or are they all new works that you have developed with the help of the volunteers using discarded electronics? Can you tell us something about some of these new works you created at the Oriel Factory?
The Oriel Factory project splits the gallery in two main sections: the factory with operational production line, and the exhibition space. All the work in Oriel Factory is new. The idea was to build a set of mobile robots and to recruit volunteers to make contraptions for the robots from a large pile of electronic waste collected from the local council. Energy for the robots and their environment is provided by solar power and home-made bike generators. The robots and contraptions are visible in the exhibition space which they share with the visitors. There are 5 smaller robots, called the Thingies, whose bodies are made in metal recycled from old VCRs, combined with colourful perspex sheets cut on the factory's CNC router. The Thingies move around, emitting sound from their built-in music boxes, and engage in simple interaction with the visitors. A larger robot called the Big Bootloader moves slowly on a taped track across the gallery. At times it opens its door and attempts to lure the Thingies inside with an infra-red beam and trap them in. A trapped Thingy will have to wait for the next opening of the door.
From 10th to 17th of September, visitors to the gallery could see the production line in operation. They could talk to the factory workers, have a look at work in progress, see the 3d printer in action and a play with the almost ready small robots. The show remains open until November 16th, with the factory left in the state it was for the opening. The robots are running, and several improvised contraptions made from recycled e-waste are activated in the exhibition space. The pedal generators that complement the solar panels which feed the robots can be used by visitors. A 20 minutes documentary film provides a comprehensive insight into the project all the way from early development stages to the opening. The film will be online at zprod.org as soon as the edit is finished, in the next few days.
On the one hand, you worked with old electronic kits. On the other one, you also used a 3D printer. Why did you need the 3D printer? Which objects or parts of objects did you shape with it?
The old electronics kits were used to make things that occupy the exhibition space, mostly simple kinetic pieces which can be triggered in sequence through a control panel made with an old Amstrad computer. The choice of using a 3D printer was an exploratory one, testing the little machine to see how useful it would be in a small scale production line.It ended up being used a lot in the robot-making process, the most visible 3D printed parts being the luminous tails of the robots. Other parts include motor and sensor holders, wheel hubs and whiskers mechanism, plus a couple of bespoke items printed for volunteers' objects. I guess we got carried away a bit by the possibilities of the printer, and cut parts that would have been better made of metal: the wheel hubs are already showing signs of wear and I have to cut new ones in steel. But the tails are great!
The webpage of the exhibition explains that the work show "explores the possibilities offered by home-manufacturing equipment and the high-tech devices of tomorrow's world." Nowadays, we read about all these new, affordable tools to create our own objects,we can find any kind of DIY information and instructions for free online, should we have a question or problem we can get help in online forum, etc. Do you think that the number of people who are able to build and create their own tools, machines and objects is growing by the day or is building a small robot out of discarded material still something that only geeks do in their own backyard? Do you think that we will buy more manufactured stuff in the near future or will we make our own?
I started "exploring the possibilities offered by home-manufacturing equipment" in spring 2011, when I bought a Thing-O-Matic and a small chinese CNC router. The learning curve was a bit steep and I had to call on my nerd fiber quite a lot in order to get results. With the 3D printer, the assembly takes more than 20 hours and involves soldering and precise tweaking. It would put some people off. That being said, once assembled the printer is straightforward to use and fairly reliable.
As for the future of such machines, I think they are already finding their way more and more into tinkerers' sheds, educational institutions and small businesses. I am not sure how they will fit in homes, where their novelty value probably would not last long enough to justify the investment, and a trip to the local or online DIY shop will remain a simpler option for a while. Yet I can imagine doing an Oriel Factory-like project in ten-fifteen years time where we would find discarded 3d printers in the collection of electronic waste, in a similar way to the 2D printers we had for this event. An interesting side-effect of using a 3D printer is a minor invasion of defect ABS plastic prints. We were happy to give ours away to visiting school kids, but otherwise they could become a recycling problem...
I had to add the image of the Inflatable Suit:
Remember i was telling you about "Anti Anti Utopia", the talk that Vicky Messi gave at the FILE festival symposium a week ago? She was highlighting media art projects from Latin America that 'look beyond anti-utopia.' The first work she presented was Arcángel Constantini's Nanodrizas, a fleet of "flying" saucers deployed in polluted waters to clean them up.
A second brilliant project she mentioned was Ciudad Nazca / Nazca City, a land art project in which a robot draws a true scale map of an imaginary city onto the surface of the Peruvian desert.
Artist Rodrigo Derteano's autonomous robot plows the desert ground to uncover its underlying, lighter color, using a technique similar to the one of the Nazca lines, the gigantic and enigmatic geoglyphs traced between 400 and 650 AD in the desert in southern Peru. Guided by its sensors, the robot quietly traced the founding lines of a new city that looks like a collage of existing cities from Latin America.
Because of the city would extend over several squared kilometers, the map can only be appreciated as a whole from certain a height by means of airplanes or satellite imaging. Just like the Nazca lines.
The project invites to reflect upon the explosive urbanization of the deserts of the Peruvian coast, taking place since the middle of the last century, and its consequences on environmental sustainability and the quality of living.
I asked Rodrigo to talk to us about Ciudad Nazca:
Hello Rodrigo! What is the motivation behind the project? During her presentation at FILE, Vicky mentioned the spectacular growth of the city of Lima and the need to find new ways of designing and envisioning cities, maybe by building them in the desert. Can you expand on this?
I live and grew up in Lima. About 60% of the city today lies within the desert, most of it grew without any serious urban planning. It's a self-made metropolis, the second largest city built in the desert after Cairo. It grew from 1 million to 8 million people in less than 60 years. There's a lot of problems derived from this development in terms of sustainability and living standards which exacerbate the huge inequality of our society. The desert plays a big role in this regard. People living in desert areas of the city are usually poor and often have to pay more for water than those living in more centric (richer) areas. They also lack proper infrastructure and have much less public places and parks. For a long time, these areas were not considered part of the city by the ruling class and the authorities until they became the majority.
By drawing a gigantic map of a city onto the desert, the project not only seeks to draw attention to this facts, but questions our very concept of city, specially in regards to its environment. Lima is a sort of negation of the desert. Our model and ideal of city is very occidental, and does not adapt very well to its context. The desert is seen a kind of non-place, not a part of our living environment. In this sense, there's a sort of irony in using a robot to draw a city onto the desert, as if it would be drawing it on the surface of Mars (exploring the outer space for the possibility of urban life).
I'm also fascinated by the Nasca people and their lines (200 BC - 600 AD). Studying theories about them, I found their notion of desert as ritual space, and therefore an expansion of their living space, to be in sharp contrast to our notion today. Some see the Nasca lines as cult to fertility and life in the desert, trying to communicate beyond. In this sense, Nasca City is kind of a cult to urban life in the desert today, not communicating beyond, but within our society...
I was also interested in the cities you selected for the final collage. How did you chose them? Why Belo Horizonte and Rio de Janeiro rather than Sao Paulo? Why Bogota rather than Medellin for example?
The project required an interdisciplinary group of people working together to make it happen. In regards to the design of the city we worked together with the Latin American architecture collective Supersudaca, represented by the 51-1 architecture studio in Lima. The collective proposed to do a real scale collage of pieces of the 10 largest cities in Latin America (Sao Paulo is included). They would overlap at the borders creating new urban forms and zones of conflict. The idea was to create a map of mixed references, city patterns already charged with meaning, that people would be able to recognise, compare, and understand the scale of the drawing according to their own real life experience.
Why 10? Well, they like to put up simple rules. The cities pieces were put together conserving their relative geographical position and original orientation.
The city drawn in the desert is ephemeral is that correct? Isn't it disheartening to dedicate so much energy and see the city being slowly erased by the wind and other natural elements?
Sometimes I also find it disheartening, but most of the time I think it is ok for it to be slowly erased by the wind. The lines loose the sharp contrast with the surface in a couple of weeks, but the relief will be visible for years. I don't know if I would find the drawing and whole action equally meaningful in, let's say, 20 years. The desert is quite a special place for me, and I had my thoughts about leaving permanent marks that large on its surface.
For it to stay forever, we would have had to do it in a terrain with almost identical conditions as in Nasca, which is a protected area classified as world heritage by UNESCO. We would have ended in jail for sure, if we had done it over there. Which brings me to question number 5...
How long did it take to draw the whole city and did you have to stay near the robot constantly to monitor its work?
The drawing took 5 days (4 under ideal conditions). We had to rescue the robot sometimes and had some problems, but most of the time, it would do fine by itself.
Did you need to obtain special permits to do this piece of land art or can anyone do anything they fancy in the desert?
In theory, you can't do what you want in the desert (in Peru), unless you own it. And even then, you'll have to do an official and quite expensive study certifying the absence of archeological rests. In a protected area like Nazca, it would be a serious crime (to destroy national heritage). We certainly could not buy up that amount of terrain (!!). But it is permitted to drive around in non protected areas, which also leaves marks. So there's kind of a gray zone. In practice, people exploit the landscape in all sorts of ways, but we wanted to go public with it. We had to make sure we could do it, or at least be prepared for the consequences. The local authorities were sympathetic to the project and we got an unofficial permit...
Are you planning to repeat or show the project elsewhere in the near future?
The project is not completely finished, because there are lots of follow ups. Maybe I'll take on the topic in further projects or exhibitions. Maybe someday we repeat the drawing process, but it's quite a production and I have no concrete plans. There are no exhibitions planned at the moment, but I have a lot of material and would like to show it again.
And if you speak spanish, check out this interview that Vicky did with Rodrigo:
All images courtesy of Rodrigo Derteano.
Previously: Nanodrizas, "flying" saucers for polluted waters.
Every year, the FILE festival invites artists and other people who have a hands-on approach to new media art to share their views, works and ideas with the audience during a 4 afternoon long symposium. One of the most fascinating talks for me this year was the one that Victoria Messi, author of the fantastic blog El Pez Eléctrico, gave about media art projects from Latin America that 'look beyond anti-utopia.'
Titled Anti Anti Utopia: Arte Eletrônica na América Latina / Anti Anti Utopia: Electronic Art in Latin America, the presentation introduced us to four projects by media artists who believe that art still has the power to transform society. I was planning to write a long post that contained her whole presentation but i thought it would be more fruitful to highlight the projects one by one. First of all because each of them is so clever, quirky and fascinating that it should have its own space. Secondly because i've just started The Leopard and as much as i'd like this Jo Nesbø gem to last as long as possible i can't stay away from the book more than it is strictly necessary for my mental well-being.
Shaped like small flying saucers, the Nanodrizas are floating autonomous robots forming a network of wireless sensors, which attempt to interact with biological elements. The robotic prototypes measure, in real time, the environmental conditions (temperature, pH scale, level of humidity, turbidity, etc.) of polluted water surfaces. The data collected is then transmitted via wireless communications for interpretation and analysis. Once to the level and nature of pollution has been identified, the nanodrizas directly intervene by emitting synthesized sound and releasing bacterial and enzymatic remedies in the eco-system that, ultimately, should regulate the quality of the water.
Prototypes of the nanodrizas have been deployed in heavily polluted locations. In particular, in the river going through the city of Puebla in Mexico. Puebla hosts "La Constancia", an ex textile factory which used to be one of the most modern factories in Latin America. La Constancia relied heavily on water to function: water was used to power its turbines and water was where waste was then dispersed. As a consequence, the river is now suffering from high levels of pollution. The mission of the robots is therefore to intervene directly and revert the effect of the pollution in the water.
The Nanodrizas benefit from relatively sophisticated technologies but were made using discarded materials such as children's toys.
The work thus moves beyond other environmental tactical media interventions by making an attempt to be actively therapeutic. The work will also functions to alert and sensitise people to the situations via, in the first location, the sound emissions of the Nanodrizas and second via displays in exhibition centers and online.
The project thus exemplifies an admirably holisitic kind of art practice which is simultaneously technologically well informed and technologically inventive, while being engaged with complex social histories and activist with respect to fundamental problems of our time.
Check out this interview that El Pez Eléctrico had with Constantini about the Nanodrizas fleet. I'd recommend watching it even if you don't understand spanish because you will not only see the nanodrizas in action but you will also be able to listen to the artist's melodious Mexican accent.
Related: Nomadic Plants by Gilberto Esparza.
FILE, the Electronic Language International Festival remains open through August 21, 2011, at the FIESP Cultural Center - Ruth Cardoso, in Sao Paulo, Brazil. Entrance is free.
A couple of years ago, Nils Völker cooperated with one of wmmna's favourite designers, Christien Meindertsma, to create a robot that replicates the way we look. In one space, an eye-tracker records the movement of your eyes while you are looking at images of various objects. Further away, a robot, built mainly out of Lego parts and hanging on top of a pile of paper, makes one dot for every point you have just been looking at. The resulting large scale images demonstrate how differently the same objects have been perceived.
The robot was the one work that attracted me to Nils Völker's portfolio but it's his creative path that started with communication design and moved to the use of physical computing in contexts as different as advertising and art exhibitions that made me realize the designer and artist was the perfect material for a quick chat.
You trained as a communication designer so how did you end up working with robotics?
At some point I discovered this Lego set which turned out to be way more than just a simple toy. In the first place I wanted to build a pen plotter, just to create some illustrations. But I realised that constructing and building the whole thing was much more fun than making the illustrations afterwards. So I've started to spend more and more time on building new machines. After a while the ideas became rather complex and Lego just reached its limits. Now I'm constantly dealing with pretty weird electric or programming issues I wouldn't have been even dreaming of about a year ago. But it's somehow great to deal with these purely logical and abstract things to end up with something that isn't logic at all.
I'd like to come back to Makers and Spectators that you developed two years ago together with Christien Meindertsma for an exhibition at MU in Eindhoven. It is made mainly out of Lego parts and that's part of its charm. Why did you chose to use these children toys? Was it mostly to give the machine a playful appearance or is there any other reason for the choice?
To be honest at that time there wasn't much of a choice, whether I use Lego or not. Back then I didn't knew anything about electronics or even had my hands on a soldering iron. But you're right, I also like this playful appearance as the good thing about Lego is that probably everybody has once been playing with it. So people are less restrained to such kind of a machine and they approach in a much more direct, almost childlike, way. These machines just look like something simple that every child could built but when you look at the details they reveal some nice complexity.
Now how about the eye-tracking technology? It seems quite sophisticated compared to the Lego blocks. Was it a technology you were familiar with? Did you have to tweak it to make it fit your purpose?
To be honest, I wasn't familiar with it at all and there wasn't much time to change that as there were only about five weeks to build the robot. So when I was developing it I was just assuming that there should be very likely a way to retrieve a text-file containing x- and y-coordinates which then could be interpreted by my machine. And when we were finally building up the exhibition we were lucky to have some help from a programmer who took care of most of the eye-tracking part.
I just saw images of one of your most recent installations Captured - A Homage to Light and Air and it does look like it was a spectacular work. Could you explain us what the work was about? Did MADE give you carte blanche or did the installation respond to a precise brief they gave you? How did you come to work with inflatable bags made from space blankets? Why did you chose a material that seems to be quite unusual (to me)?
It's a project I realised together with my brother Sven who's a graphic designer. We both decided to come up with something based on these immaterial things like light and air; basically things you can't capture. During almost three months of work we've created a huge installation which covered almost the whole room. Sven designed four large graphic walls reflecting the four different aspects of the intangible idea framing my installation which consists out of 252 inflatable cushions made from these space blankets. And finally both parts were interacting in a twelve minute performance synchronized to sound and light.
One thing I've definitively learned about space blankets is that they aren't made to be heat-sealed at all. It took ages to make enough bags that didn't instantly pop when inflated. But this foil is simply great because it sizzles so much louder than any other foil I know. And in the end the noise inside the room was just incredible. And finally its silver side does perfectly reflect the coloured light coming from the ceiling which was a connecting element for Sven's and my work.
MADE, the place where all this happened, is surely the most extraordinary workspace I've ever been working at. It's situated in the ninth floor right at the Alexanderplatz overlooking the city and in addition to that it's equipped with this pretty sophisticated light system consisting out of 225 lamps and you can let glow any single one in any colour you can imagine.
The ambition of the team running the space is to bring people together who are working in rather different creative fields to end up with something completely new. This time it was my Brother and me combining graphic design and physical computing. And although we have been discussing all of our ideas with the MADE team, in the end we could basically do whatever we wanted to, which is quite extraordinary.
Your "About" page says that you're working on an installation using actuators coming from cars wing mirrors. Could you already reveal us something about it?
I'm always in search for ready made components that could be recombined into something new. A while ago I could get my hands on a few of these wonderful little mirror-motors. I was still experimenting with them, when all of a sudden the "Captured" project began an I just restarted working with them lately. So I'm not yet totally sure where it will end up but very likely I'll use them combined with larger mirrors to create moving and constantly reshaping light reflections on the opposite wall.