Recurrent Lloyd Wright (2024) is a recursive algorithmic animation that draws together the vast corpus of Frank Lloyd Wright’s “Usonian” architectural blueprints and evaporates them into a fluid atmosphere. In this piece, the modernist utopian vision of Lloyd Wright’s designs drift back and forth, and are endlessly remade. The sense of context and materials at the core of the architect’s poetics is dissolved into a virtual and speculative existence. In rendering atmospheric Lloyd Wright’s grounded design, “Recurrent Lloyd Wright” is, at once, a commentary on the fate of modernism and a blueprint to imagine future, possible architectonics.
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“Climate Parliament” is an interactive sound and light installation featuring thousands of audio channels playing on small, custom-made loudspeakers, suspended under the ceiling of a semi-outdoor passageway at Rice University. The speakers are hung out of reach of passers-by in a regular, but staggered formation that creates semi-circular archways with a six-foot radius.
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"Pulse Agglomerate," a biometric performance, was presented during the 60th Venice Biennale. The piece consisted of a wearable armature that powered, controlled, and hauled hundreds of lightbulbs, each glimmering to the pulse of a different participant from the past. The performer wearing the piece walked around the streets of Venice, collecting one hundred heartbeats using an onboard pulse sensor.
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"Simulacrummed Artifission" is an interactive display where a number of computer-generated avatars stand still and silent in suspended animation, — until the visitor activates one or several of them (by tapping on them in the small version of the work, or by pulling on a string in the large version). As they activate, each Avatar speaks an automated AI translation of James Joyce's novel "Finnegans Wake" in one of 15 languages including Urdu, Spanish, Mandarin, French, Tagalog, German, Arabic, and Hebrew. As all AI translations are in sync to the original text in English, which can be read in subtitles, the result is an uncanny representation of largely nonsensical spoken words but expressed with the same rhythm and intonation.
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Transparency Display is an interactive glass triptych that reveals and conceals portraiture in real-time using the transparency and translucency of liquid crystal pixels embedded in glass panels. The piece automatically creates low-definition portraits of the viewers, which can be seen from either side of the triptych, regardless of the lighting conditions or time of day. Through these fleeting portraits a visitor on one side can see visitors on the other side, creating an uncanny and ever changing portal between them. Inspired by Dan Graham's reflective and refractive glass pavilions, Sharon Grace's digital pictures in picture, and Kit Galloway and Sherrie Rabinowitz's "Hole in the Wall" performance, the work converts an architectural subdivision into a connective switchboard for eye contact, shadow play, and sous- and sur-veillance.
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“Collider” is an artwork formed by hundreds of pencil-beam robotic searchlights that create a glimmering curtain of light. The lights react in real-time to invisible cosmic radiation that arrives from outer space, originating from stars and black holes. So-called “cosmic rays” are harmful proton and alpha particles that, fortunately, collide with our atmosphere to create less harmful muon particles. These particles are detected by the sensor you see here, which is constructed from adapted Geiger counters. This sensor can detect the angle from where the muons arrive on Earth, and this live information is then translated into the curtain of light.
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This dune valley is interactively illuminated by threshold lines that react to the voices and sounds sensed by area microphones. Periodically, echoes of everything spoken within this valley returns in the form of travelling waves of light and sound.
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An array of over 4,000 Edison lightbulbs creates a topology that illuminates the plant life of Lulu Island. Each lightbulb glimmers to the rhythm of the heartbeat of a different participant, detected by PPG pulse sensors located within the piece. As people add a new recording of their heartbeat, the oldest recording in the group is replaced, creating a Memento Mori.
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An animated image of the Earth rotates with its poles parallel to the ground. The Earth is illuminated with ground lights that cast shadows of passers-by, which alternate between 2 and 14 metres of height depending on how far the visitor is from the source of light. As shadows cover different cities, they automatically trigger live, local radio stations from those locations, thus creating a global polyphonic tuning device.
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Three "abra" boats float in Lulu Island’s lake, lit up by flickering lights that are controlled by voices, generated by artificial intelligence, that are perpetually translating James Joyce’s Finnegan’s Wake into Arabic, Urdu, Hindi, and other languages. Visitors can add or remove a language to the chorus of translation by using the push-button interface.
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Poems by contemporary Emirati poets Nujoom Alghanem, Khalid Albudoor, and Adel Khozam are presented as a slow stream of letters, which are projected across a long stretch of trail. The letters meander down the island trail, inviting the public to follow them. As people walk, their detected presence automatically translates the poems between English and Arabic and vice versa. The stream of language is controlled by fluid dynamic equations, which ensure that the flow pattern is always unique. Poetry is the most challenging form of writing for translation – the reading here becomes an embodied path, with languages seamlessly morphing between one and another through each individual interaction.
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Hundreds of spotlights illuminate an empty lakebed on the north of Lulu Island. The beams shimmer, tuned in synchronicity with voice recordings that visitors speak into an intercom. As new recordings are added to the reservoir of voices, old ones can be heard again before they vanish altogether.
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Arkansas Text Stream consists of brief texts sourced from Northwest Arkansas community members presented in a slow stream of letters that transform into phrases as the presence of people is detected. Commissioned by Crystal Bridges Museum of Art, Bentonville.
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3,000 lightbulbs flicker in time to the literal hearts of the Ozarks. Temporarily displaying the heartbeats of the last 3,000 participants, Pulse Forest expresses the fleeting nature of life, where every heartbeat replaces the one before. Like a memento mori, the work is a gentle reminder of death’s inevitability, presented in a way that celebrates the beauty of presence and life.
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A bridge spans a dry ravine scattered with an array of light batons. As you speak or sing, microphones on the bridge transmit those sounds downstream as white streaks of light cascading towards the valley’s vanishing point. After a few minutes of gathering sounds, the batons at the end of the ravine glow blue, a thick fog starts to form, and a cacophonous composite of the gathered sounds slowly creeps toward the bridge.
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From a distance, a steady murmur of voices radiates from a stand of illuminated trees. As you come closer, it’s apparent that individual voices are coming from specific trees and are punctuated with lights that blink with the words being spoken. Three nearby intercoms invite you to add your own voice to the memory of the forest. Each new addition shifts the recordings from one tree to another, changing the overall hum of the woods.
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In this installation, three giant stick figures meet in a forest clearing. Composed of limbs made of light, each robot-like figure waits motionless until you step behind it and control its arms, legs, and head by moving your own appendages. At this scale, all actions are captured as exaggerated beams of light that illuminate the night sky or enfold a fellow giant in a well-lit embrace. This amplification of size, coupled with the coordinated droning swooshes and sound effects of moving “limbs,” encourages you to view your own body in a new way.
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“Thermal Drift” is an interactive artwork that visualizes the dispersion of body heat as emissions of thermal energy in the form of slow-moving packets or quanta that flow away from the participant.
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A durational performance piece that consisted of a poem (by Leigh Kotsilidis) written on two naked bodies using ice-cold water. The writing was made visible by a live thermal camera projected onto the stage, and the words disappeared gradually as the bodies heated up the water.
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“EXCUSE YOU!” is a collaboration with poet, Leigh Kotsilidis, It is an indignant yet playful neon sign. A timely calling out. A chastisement. A snarky apology on your behalf. A potential for provocation. A chance for absolution. EXCUSE YOU! is the figurative finger pointing at all of us, saying own and apologize for your shit because it’s about fucking time!
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“Thermal Drift Density Map” is an interactive artwork that visualizes the dispersion of body heat as emissions of thermal energy in the form of slow-moving packets or quanta that flow away from the participant.
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“All the Waters” is an installation consisting of a robot arm that constantly writes calligraphy on a sheet of heated corten steel. A Japanese brush collects water from a fold on the steel plate and draws new words at the rate that previous ones evaporate, similar to the ephemeral-drawing artworks such as “Re/trato” by Oscar Muñoz. The words written by the piece are over 2,000 brand names for bottled water from around the world, which feature banal, geographic, religious or environmental names: Aguavita, Polar Spring, Belles Roches, Santa Vittoria, AxyZen, Pure Life, BoNatura and so on.
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“Hormonium” (Text Stream 8) is a generative artwork that presents sequences of ocean waves crashing and releasing airborne text particles, with the text representing acronyms of hormones that are released in accordance with human time-cycles.
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“Botella de Castigos” is an artwork where thousands of bottles are presented spinning slowly on a display, creating a clock that counts 59 seconds per minute. The bottles come from popular and elite “brands” of water from all over the world, as well as AI generated bottles of brands that do not exist.
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“Recurrent First Dream” (Primero Sueño Recurrente) is a recursive algorithmic animation made with the collected works of Mexican poet Sor Juana Inés de la Cruz. An ascending vortex of words routinely appears and scans the displays, slowly revealing the poet’s mangum opus “First Dream”, a pioneering feminist ode to knowledge and deductive reasoning, written in 1692.
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In “Password Breach,” all the passwords extracted from salient historical data breaches are presented as an additive smear on 77 small electronic-paper displays which synchronize and reset intermittently. The breaches include the Panama Papers, Ashley Madison, and RockYou2021.
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“Pulse Topology” uses remote photoplethysmography (PPG) technology, developed to detect heartbeats without using touch. The biometric data collected from participants is used to illuminate 3,000 to 10,000 suspended light bulbs, creating an immersive audio-visual experience which forms a connective topography of the pulses of participants.
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“A Crack in the Hourglass” is a transitory “anti-monument” in response to the pandemic and the ways it has halted public rituals of mourning. In this participatory artwork, a modified robotic plotter deposits grains of hourglass sand onto a black surface to recreate the images of those lost due to COVID-19.
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“Speaking Willow” is a sound sculpture in the shape of a weeping willow tree, between 16 and 20 feet high, which adorns the entrance of the Planet Word Museum. The tree sculpture is fabricated in aluminum and is hollow, except the trunk and branches carry inside data cables that emerge from the structure and hang vertically, slowly swaying with the wind. The tree is covered by living vine, Ivy or other evergreen climbing plants that warm-up the design.
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“Field Atmosphonia” is a sound and light environment featuring 3,000 audio channels playing on custom-made speakers with LED lights. The project is a soundscape that comes in waves of complex polyphonies that emerge from the array of field recordings.
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Reflejo Peatonal is a permanent installation consisting of two sections: the first consists of an array of LED battens covering most of the facade of the Puerta Polanco building, located in Mexico City. The second array is a LED-chandelier located in the street-level soffit. A couple of surveillance cameras feed custom-made software that takes this input and extracts human silhouettes in real-time, that are in turn fed to the LED arrays.
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"Encode/Decode," a generative interactive typographical environment made from the critical essay of Jamaican-British cultural studies scholar Stuart Hall (1932-2014) in which he proposes an encoding/decoding model of communication.
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“Recurrent Anaximander” is a generative animation running on a custom-made 400,000 pixel circular display. The piece features a solar simulation made with Reaction Diffusion, Navier Stokes, Voronoi and Perlin Noise algorithms, running on top of a Solar Dynamics Observatory (SDO) image that is updated daily by NASA.
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"Recurrent Rayuela" (Text Stream 6) is a generative artwork made with the 155 chapters of the experimental novel "Rayuela" (Hopscotch) published in 1963 by Argentine writer Julio Cortázar. The piece consists of a black circular screen that shows a cube with thousands of letters from the book in a fluid, animated pool. When the screen is manually rotated by a visitor, the cube tumbles around and the letters become turbulent; after a few seconds, random excerpts from the novel emerge on screen from the turbulence. As soon as the rotation ends the excerpts disappear and the pool of letters stabilizes again.
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“Recurrent Llull” (Text Stream 7) is a recursive algorithmic animation made with the collected works of Mediterranean philosopher and polymath Ramon Llull, born in the kingdom of Majorca in 1232. Among Llull’s accomplishments was the very first symbolic machine, a series of concentric circles that could be operated to generate combinations of “elemental truths”.
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"Border Tuner" is a large-scale, participatory art installation designed to interconnect the cities of El Paso, Texas, and Ciudad Juárez, Chihuahua. Powerful searchlights make “bridges of light” that open live sound channels for communication across the US-Mexico border. The piece creates a fluid canopy of light that can be modified by visitors to six interactive stations, three placed in El Paso and three in Juárez.
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“Remote Pulse” is an interactive installation consisting of two identical pulse-sensing stations that are interconnected over the internet. When a person places their hands on one station automatically the person on the other station feels their pulse, as the plates vibrate in sync with the heartbeat of the remote person, and vice versa. The piece was originally presented as part of Lozano-Hemmer’s “Border Tuner” installation across the US-Mexico border.
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“Cloud Display” is a vertical water fountain consisting of 1,600 ultrasonic atomizers, controlled by a machine-learning voice recognition system. When a participant speaks into an intercom, the piece writes any words or sentences spoken using wisps of pure water vapour. The project can work in most languages, and recognizes different accents.
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“Linear Atmosphonia” is a sound environment featuring 3,000 audio channels playing on separate custom-made speakers with LED lights. The piece can be presented as a tunnel or room, and the recordings change typology gradually along the field of speakers: recordings include wind, water, fire, ice, over 200 types of insects, over 300 types of birds, bells, metronomes, bombs and so on. The project results in waves of complex polyphonies that emerge from the array of field recordings.
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In “Vocal Folds,” three custom LED displays housed in oil drums play unique Laryngoscopical videos. Five English actors read Charles Babbage’s “Ninth Bridgewater Treatise” (1837) during an endoscopic filming; the camera introduced into their nose, reaching their vocal folds and cords.
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“Voice Tank” is a ripple tank controlled by polyphonic pitch detection actuation. The voices of two participants who speak into the intercoms are analyzed and converted into notes hammered by motorized components. The resulting waves interact and create unique patterns.
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“Weather Vanes” is an artwork that features 99 brass arrows inspired by anemometers and weather vanes, the devices used to measure wind speed and direction. Here, live voices control miniature computerized fans that create turbulence. When seen from above, the table looks like a map of wind barbs or vectors.
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“Babbage Lovelace” (Text Stream 5) is a generative animation based on the collected texts of Charles Babbage and Ada Lovelace turned into a stream of letters.
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This piece is a generative animation showing a descent into a never-ending spiral staircase. From time to time, uncanny virtual naked people can be seen walking down the staircase. The work never repeats the same sequence of characters. “Descending a Parametric Staircase” is a homage to Duchamp’s futurist composite “Nude Descending a Staircase” from 1912, taking its colour palette, and his “Rotoreliefs” from 1935.
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"Recognition" is a machine-learning face recognition algorithm that classifies the viewer in relation to a constantly growing database of people who have seen the work in the past.
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“Metrónomos” is a kinetic installation consisting of eight inverted nooses, which move slightly according to the rhythm of various global statistics on human rights violations. Commissioned for Mexico’s Memory and Tolerance Museum, the sculptures are presented on pedestals, arranged in a semi-circle. The frequency in which each noose, or metronome, sways depends on the statistic that each one represents: the number of forced displacements or deportations, acts of torture, cruelty and sexual violence, crimes against the environment, among others. Each noose contains the heartbreaking rhythm of a different scale, in order to materialize, symbolically, the frequency in which human rights are violated. Together, they create a chorus of sculptures activated by statistical data.
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“Double” (Text Stream 4) is a generative turbulent animation of the letters AGTC, representing DNA base pairs. At a given time, the piece shows the entire genetic code of the Haemophilus Influenzae bacterium, the first organism to have its genome sequenced, in 1995, with 1.8 million base pairs. Periodically, the display switches to show the artist’s own entire genetic code, featuring 3.2 billion base pairs.
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“Volumetric Solar Equation” is a large-scale spherical volumetric display that simulates the varying turbulences, flares, and spots visible on the surface of the sun. Animated by mathematical equations and the latest imagery from NASA’s solar observatories, the content is dynamic and ever-changing, based on live rather than looped video simulations. The chandelier is three metres in diameter and made of 25,580 LED lights on 342 battens.
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“Recurrent Sanches” (Text Stream 3) is a new algorithmic text spring made with the works of Spanish-Portuguese philosopher and physician Francisco Sanches, most notably his sceptical treatise “That nothing can be known” Quod nihil scitur (1581) in which he proposes that nothing can be known through its causes, since it would also be necessary to know the causes of the causes, and then their causes, in an infinite regress.
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A 3m diameter sphere that supports 1,128 loudspeakers each of which plays a different composition by Johann Sebastian Bach. The piece is designed to concentrate Bach’s entire musical production in a dense multi-channel structure that visitors can enter. At any given point, all compositions play-back simultaneously creating a polyvocal and complex sound environment focused in the centre of the sphere; from time to time the speakers are gradually silenced in waves to highlight one speaker playing a single composition.
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Blue Sun is a spherical chandelier that represents the turbulence, flares, and spots visible on the surface of the sun using the hottest colours in the spectrum: blue and white. Animated by mathematical equations and the latest imagery from NASA’s solar observatories, the content is dynamic and ever-changing, based on live rather than looped video simulations. The piece draws equal inspiration from scientific visualization and traditions of geometric abstraction in contemporary art.
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“Pareidolium” is a circular fountain that creates portraits of onlookers in mid-air with clouds of vapor that ascend from the water basin. As a visitor looks into the water, a facial-detection system extracts their image and creates an ephemeral likeness in cold vapour. The portrait becomes tangible, almost breathable, only briefly, then disappears in turbulence.
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“Vanishing Points” is a grid-generator software that deforms graphics in real time while taking into consideration the 3D position and orientation of onlookers. Visitors’ heads are tracked, recorded and mapped onto screens, which only appear coherent at particular angles. When two participants enter the interactive area, two vanishing points are created matching their perspective, and when they get physically close, the two grids match and blend into one another. When no one is participating the system shows the vanishing points for the past 12 to 16 viewers.
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A circular display that converts a camera’s cartesian grid of photo sensors into a representation in polar coordinates (an angle and a distance). The piece has a radar-like rotation mapped to the baseline of the live camera to add an element of time, emphasized by a quiet ticking sound. The polar distortion produces an anamorphic representation of people in front of the work, with all of them sharing the same origin.
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“Recurrent Mallarmé” (Text Stream 1) is a new algorithmic text spring made with the collected works of French poet Stéphane Mallarmé.“Recurrent Mallarmé” is a new algorithmic text spring made with the collected works of French poet Stéphane Mallarmé.
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The interactive installation, “Colorimètre” is a feature wall adorned with over 500 colour panels, arranged in a vertical grid orientation, showcasing a constantly-changing gamut of colours. These colour cells are activated by the colours captured by a camera in the grand hall and its surroundings.
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“Recorded Assembly” is an interactive installation that uses biometric techniques to detect and record the faces of people standing in front of it. The piece is part of the series of biometric installations that Lozano-Hemmer has been developing for over 20 years.
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“Bilateral Time Slicer” is a biometric tracking system that finds the axis of symmetry of members of the public and splits a live camera image into two slices. With each new participant time slices are recorded and pushed aside. When no one is viewing the work, the slices close and rejoin creating a procession of past recordings.
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“Volute” is the world’s first 3D-printed speech bubble. Developed using new software and custom techniques by Lozano-Hemmer’s studio and researchers from Georgia Institute of Technology, Auburn University, and NYU, the piece materializes recorded speech by converting exhaled breath into a 3D shape, which is then printed in stainless steel. This piece is part of a larger series of “Volute”—words, phrases, and songs rendered into turbulent clouds.
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"Population Theatre" is a scalable data-visualization theatre consisting of 7.5 billion individual computer-controlled points of light. The purpose of the piece is to create an experience that offers a one-to-one relationship between the world’s population and its data: every person is represented by a single point of light. "Population Theatre" is a platform for making data tangible, a direct representation of demographic data, and as such it can be used to create "data-dramatizations" that may help the public visualize data on political economy, cultural studies, sociology, anthropology, psychology, history, communications and other fields. People may stand on the stage and watch data performances, but they are also encouraged to walk along the corridors amongst the "rows" of monitors, physically "zooming-in" to see individual pixels, subverting the panoptic view and looking back at the public on the stage.
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Call on Water is a fountain that writes words in mid-air with plumes of cold vapour that ascend from a water basin. Dozens of poems by Mexican writer Octavio Paz are presented which describe readable air, the moment when the written word is spoken and becomes the atmosphere itself. The poems’ content becomes tangible briefly, almost breathable, then disappears in turbulence.
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"Sway" is a kinetic sculpture that responds to data; it is a computer-controlled metronome that oscillates to the rhythm of a specific statistic. The rope was braided onto a thin vertical steel rod to make it stand upright and the floor rope acts as a free-standing base. The piece stands on a wooden plinth which contains a small motor and an electrical circuit that makes the noose sway and pendulate almost imperceptibly from time to time. The sway adds to the trompe l’oeil effect of the rope hanging upside-down. The collector or curator may choose the frequency with which the rope sways, with the default value being around once every 40 to 60 seconds, which represents therate of homicides in the World.
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Two million pamphlets were printed in elemental gold, higher in purity than 24-karat gold, using nanotechnology techniques. Around 250,000 copies were released in the exhibition room so they remain floating around in the air, potentially inhaled by the public. These pamphlets are 150 atoms thick and are biologically inert so pose no health risk. The rest of the pamphlets are shown suspended in water together with images taken by an electron microscope. The text engraved onto the gold leaflets is an excerpt from the Ninth Bridgewater Treatise (1837) by Charles Babbage. The text posits that the atmosphere is a vast repository of everything that has ever been said and that we could potentially "rewind" the movement of every molecule of air to recreate the voices of everyone who has spoken in the past.
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“Zoom Pavilion” is an interactive installation that consists of immersive projection on three walls, fed by 12 computerized surveillance systems trained on the public. The piece uses face recognition algorithms to detect the presence of participants and record their spatial relationship within the exhibition space. Independent robotic cameras zoom in to amplify the images of the public with up to 35x magnification: the zooming sequences are disorienting as they change the entire image "landscape" from easily recognizable wide shots of the crowd to abstract close-ups. Zoom Pavilion marks the first collaboration between artists Rafael Lozano-Hemmer and Krzysztof Wodiczko.
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"External Interior" is an inside-out disco ball made with 1600 one-way mirrors mounted on a transparent acrylic sphere, reminiscent of both Julio Le Parc’s mirrored sculptures and the tessellated vision present in insects with compound eyes. The piece is suspended from pulleys and has a counterweight so that it can be raised and lowered easily. As visitors introduce their head inside the sphere, they see a mise en abyme reflection multiplied kaleidoscopically, creating both a spacious, yet isolated, self-centered experience. Meanwhile, from the outside, the public can clearly see the person inside the sphere.
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In "Redundant Assembly," an arrangement of several cameras composes a live-portrait of the visitor from six perspectives simultaneously, aligned using face detection. The resulting image is uncanny, detached from the laws of symmetry and the depth perception of binocular vision. If several visitors are standing in front of the work, a composite portrait of their different facial features develops in real time, creating a mongrel "selfie".
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“Airborne Series” (Shadow Box 11) is a set of interactive installations designed to animate literary, scientific, and philosophical texts on the subjects of entropy, complexity, chance and non-linear dynamics. As a viewer stands in front of the work a sensor creates a "heat map" of his or her body and evaporates letters of the text that scroll on screen and which become "airborne", generating turbulent movements. As the participant moves away the letters cool down and precipitate. The interaction fills the screen slowly, showing tens of thousands of letters, at which point the text fades out, and begins to scroll again from the beginning.
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"Level of Confidence" is a face-recognition camera that has been trained with the faces of the 43 disappeared students from Ayotzinapa school in Iguala, Mexico. As you stand in front of the camera, the system uses algorithms to find which student's facial features look most like yours and gives a "level of confidence" on how accurate the match is, in percent. The piece will always fail to make a positive match, as we know that the students were likely murdered, but the commemorative side of the project is the relentless search for them and their overlap with the public's own facial features. The project software is available for free download so that any university, cultural centre, gallery or institution can set-up the piece. In addition, if the project is acquired by collectors, all proceeds will go to the affected community, in the form of scholarships for example.
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“Pulse Corniche” (Relational Architecture 22) was an interactive canopy of powerful light beams projected into to the sky by robotic searchlights whose brightness and orientation was controlled by the heart-rate of visitors to the Abu Dhabi’s Corniche. People were free to participate by holding a sensor placed in the centre of the plaza that converted the electrical activity of their heart into a unique lighting sequence. The intensity and direction of the lights visualized the different biometric rhythms of each participant, in an urban scale.
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"1984x1984" (Shadow Box 10) is the tenth piece in Lozano-Hemmer’s Shadow Box series of interactive displays with a built-in computerized tracking system. The piece shows a grid of thousands of random numbers extracted from addresses photographed by Google Street View. Scanned by Google from the front doors of buildings around the world, the numbers have an immense variety of fonts, colours, textures, and styles. As a viewer walks in front of the piece, their silhouette is represented within the display, and within its form, all the numbers count down to show the number 1984 repeated throughout. The piece was made as a homage to George Orwell’s eponymous dystopian novel, 30 years after his predicted date for the collapse of privacy.
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"Pan-Anthem" (Subsculpture 16) is an interactive sound installation where the national anthem of every country in the World plays back on a movable speaker that is magnetically attached to a large wall. The speakers are precisely arranged to visualize national statistics: population, GDP, area, number of women in parliament, GINI, year of independence, HDI and so on. For example, when the work is configured to show military spending per capita, on the far left of the wall the public can hear the anthems of countries without military forces like Costa Rica, Iceland and Andorra while at the far right they can hear Saudi Arabia, Israel and the United States, which spend more than $2,000 per person per year. If no one is in the exhibition room all the speakers are silent, but as a visitor approaches a particular set of speakers these start playing automatically, creating a positional panoramic playback of anthems associated to similar statistics.
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"Method Random" is a series of chromogenic prints generated by computational methods attempting to create randomness. Random number generators(RNG) are essential algorithms for a large number of applications, from encryption and security to simulation, jury selection, double-blind trials, statistical sampling, game theory and many others. While the sum of all colours picked by different RNG algorithms generates a neutral gray, a pattern can be discerned when a massive number of pixels can be seen simultaneously. These prints show how human perception of an organization can often spot the fundamental difficulty for computers to appear unpredictable.
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"Nineteen Eighty-Four" is an interactive display that shows house address numbers extracted from Google Street View images. The display writes over 22 billion different combinations of the number 1984, which change at a user-specified speed. Typing any number onto an onboard keyboard starts a count-down or count-up until eventually the number 1984 is reached.
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“Vicious Circular Breathing” is a hermetically-sealed apparatus that invites the public to breathe the air that was previously breathed by participants before them. The installation consists of a glass room with double sliding doors, two emergency exits, carbon dioxide and oxygen sensors, a set of motorized bellows, an electromagnetic valve system, and 61 brown paper bags hanging from respiration tubes. In the piece, visitors’ breath is kept circulating and made visible by automatically inflating and deflating the brown paper bags around 10,000 times a day, the normal respiratory frequency for an adult at rest. The piece includes warnings for asphyxiation, contagion and panic, and produces a faint mechanical sound, a quiet whir from the air flow and louder crackles from the crumpling bags.
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“Voice Tunnel” (Relational Architecture 21) was an installation designed to transform the Park Avenue Tunnel in New York City with 300 theatrical spotlights that produce glimmering arches of light along the tunnel’s walls and ceiling. Participants control the intensity of each light by speaking into an intercom at the tunnel’s center which records their voice and loops it. Louder speech increases the lights’ brightness proportionally, creating a Morse-like code of flashes throughout the tunnel. The individual voices can be heard as pedestrians walk through the tunnel, on 150 loudspeakers, one beside each light arch and synchronized with it. At any given time, the tunnel is illuminated by the voices of the past 75 participants: as new participants speak into the intercom, older recordings get pushed away by one position down the array of light fixtures until they leave the tunnel, so that the content of the piece is changing constantly.
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"Zero Noon" is a digital clock that shows the current time according to eccentric metrics: it uses hundreds of different internet-refreshed statistics. The clock's reference systems are all synchronized so that precisely at noon they all zero and start over. The public may change the statistics by manually scrolling through the list using small push-buttons under the built-in display. The metrics come from government data, Harper’s Magazine, financial institutions, NGOs, academic studies and other trusted sources.
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“Friendfracker” is a service that automatically deletes a set of friends from your Facebook account. Upon authenticating your data on the website, the service deletes 1 to 10 friends at random. The project was developed with Harper Reed for Rhizome's 7 on 7 conference.
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"Sphere Packing" (Subsculpture 15) is a series of 3D-printed pieces designed to concentrate the entire musical production of a composer in a single dense multi-channel device. The size of each sphere is directly proportional to how prolific the composer was; for example the sphere for Hildegaard Von Bingen has an 11 cm diameter and 69 loudspeakers. The project presents at a glance the comparative production volume of many composers. As people are a couple of metres away from a sphere, they hear a quiet murmur of sounds, but as they approach and put their ears up close to individual speakers, they can hone in on specific compositions.
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"Airborne Newscasts" (Relational Architecture 20) is an interactive installation originally commissioned by the Chrysler Museum of Art to transform Norfolk, Virginia’s public space into a poetic shadow play. By blocking the light of two projectors, participants cast their shadows onto a 900-square-metre wall, and these shadows are tracked by computerized surveillance systems. Out of the shadows emanate billowing smoke which is mapped onto the wall, slowly accumulating within it. Turbulent clouds of live newscasts evaporate from the “heat” of the tracked bodies.
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“Performance Review” is a photographic project comprised of thousands of fingerprints captured by high-magnification digital surveillance equipment. While the distinctive patterns found in friction ridges of the human finger allow for the identification of an individual, in these images those singularities are subsumed to create an ambiguous image, representing the generalized use of biometry itself. Named after 15 banks, the c-prints in this series are unique, each consisting of fingerprints from 750 different people.
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“First Surface” (Shadow Object 3) is an artwork consisting of two front surface mirrors that are suspended from a thread and move with the air flow and with a small motor. Projected on the wall behind the mirrors is a real-time virtual representation of the public as seen from the perspective of the mirrors. The public is represented as patterned 3D silhouettes anchored in a reference prism that rotates with the mirrors. The piece is an attempt to construct an artificial perspective on the reflected subject.
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“Semioptics for Spinoza” (Shadow Object 4) is a plano-convex lens is suspended from a thread and moves with the airflow and with a small motor. Projected on the wall behind the lens is a set of artificial lens flares generated by equations that take into account the orientation of the lens in relation to the viewing public. The project generates fake light beams that go through the real lens: the lens then diffracts and scatters the fake light creating light source aberrations, directional haze and chromatic distortion.
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“Open Air” (Relational Architecture 19) was an interactive artwork that allowed participants’ voices to transform the sky over Philadelphia. Using a website or a free iPhone app participants could record a voice message and listen to and rate other entries. The messages were played-back over the Benjamin Franklin Parkway using 24 powerful robotic searchlights that reacted, both in brightness and position, to the voice’s frequency and volume as well as to the phone's GPS location.
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“Pulse Drip” is an interactive installation originally developed for Urdaibai Art 2012 in which the public can water the lawn at the Torre de Madariaga using a water hose with a heart rate sensor built-in.
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“ Bifurcation” (Shadow Object 2) is small Y-shaped branch, similar to a divining rod, which is suspended from a thread and moves with the air flow and with a small motor. Projected on the wall behind the branch is its shadow, only you can see the entire tree from where the branch came. The branch and the tree shadow are always oriented in the same way.
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“Last Breath” is an installation designed to store and circulate the breath of a person forever. The piece consists of a small brown paper bag which inflates and deflates automatically thanks to motorized bellows similar to those found in artificial respirators in hospitals. The apparatus hangs on a wall and is activated 10,000 times a day, the typical respiratory frequency for an adult at rest, including 158 sighs.
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In “Tape Recorders” (Subsculpture 14), rows of motorised measuring tapes record the amount of time that visitors stay in the installation. As a computerised tracking system detects the presence of a person, the closest measuring tape starts to project upwards. When the tape reaches around 3 meters high it crashes and recoils back. Each hour, the system prints the total number of minutes spent by the sum of all visitors.
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In “Voice Array” (Subsculpture 13), as a participant speaks into an intercom, his or her voice is automatically translated into flashes of light and then the unique blinking pattern is stored as a loop in the first light of the array. Each new recording pushes all previous recordings one position down and gradually one can hear the cumulative sound of the 288 previous recordings. The voice that was pushed out of the array can then be heard by itself.
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“Nave Solar” is an interactive installation featuring a fake Sun that is activated by the pendular motion of the public as they hang from a rope and swing along the nave of a 16th Century catholic inquisition church. Using tracking systems, the installation detects the motion of participants and generates smoke that accumulates on the ceiling of the apse as well as activates the Sun's flares, surface turbulence and sun spots.
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"Articulated Intersect" (Relational Architecture 18) is a large-scale installation that produces an interactive canopy of light that can be modified by the public using six large lever-controllers that protrude from the ground. As a participant points one of these levers three powerful robotic searchlights automatically intersect in the sky to create an apex at that location. The participant may direct the apex anywhere over the city in real-time, creating an animated tetrahedron inspired by the work of Richard Buckminster Fuller.
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“Flatsun” is a circular display that simulates the turbulence at the surface of the Sun using mathematical equations. The piece reacts to the presence of the public by varying the speed and type of animation displayed. If no one is in front of the piece the turbulence slows down and eventually turns off. As the built-in camera detects people, more solar flares are generated and the fake Sun shows more perturbation and activity. At 140 cm diameter, “Flatsun” is exactly a billion times smaller than the real Sun.
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"The Year's Midnight" is an interactive installation that shows the viewers' image on screen, unprocessed, except for plumes of white or black smoke that emanate from their eye sockets until the whole display is filled with a dense smog. Live and recorded eyeballs extracted from the video accumulate on the bottom of the display, similar to traditional representations of St. Lucy. The project's name is the beginning of John Donne's "A Nocturnal Upon St. Lucy's Day, Being the Shortest Day", a mournful poem which inspires this work.
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“X is not the new Y” is a small format artwork where over 500,000 combinations of proper names, companies and cities are presented as random inequalities by two electronic paper displays.
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“Sandbox” (Relational Architecture 17) is a large-scale interactive installation created originally for Glow Santa Monica. The piece consists of two small sandboxes where one can see tiny projections of people who are at the beach. As participants reach out to touch these small ghosts, a camera detects their hands and relays them live to two of the world's brightest projectors, which hang from a boom lift and which project the hands over 8,000 square feet of beach. In this way people share three scales: the tiny sandbox images, the real human scale and the monstrous scale of special effects.
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When people look at themselves in this small mirror they see the word "Autopoiesis" projected on their forehead. The concept of self-creation described by Chilean biologists Maturana and Varela is an inspiration for all art that depends on participation to exist.
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“People on People” is an installation designed to displace the public’s image in real-time, creating a platform for embodiment and interpenetration. The piece consists of floor-mounted projectors that cast the shadow of the public onto a wall and another set of hanging projectors which project images inside the shadows.
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“Please Empty your Pockets” (Subsculpture 12) is an installation that consists of a conveyor belt with a scanner that records and accumulates everything that passes under it. The public may place any small object on the conveyor belt: once it passes under the scanner, the object reappears on the other side beside projected objects from the memory of the installation. As a real item is removed from the conveyor belt, it leaves behind a projected image of itself, which is then used to accompany future objects. The piece remembers up to 600,000 objects which are displayed beside new ones that are added to the installation.
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"Solar Equation" is a large-scale public art installation that consists of a faithful simulation of the Sun, 100 million times smaller than the real thing. Commissioned by the Light in Winter Festival in Melbourne, the piece features the world’s largest spherical balloon, custom-manufactured for the project, which is tethered over Federation Square and animated using five projectors. The solar animation on the balloon is generated by live mathematical equations that simulate the turbulence, flares and sunspots that can be seen on the surface of the Sun. This produces a constantly changing display that never repeats itself, giving viewers a glimpse of the majestic phenomena that are observable at the solar surface and that only relatively recent advances in astronomy have discovered. Using an iPhone, iPod touch or iPad, people may disturb the animations in real-time and select different fluid dynamic visualizations.
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"Pulse Index" is an interactive installation that records participants’ fingerprints at the same time as their heart rates. The piece displays data for the last 765 and over participants in a stepped display that creates a horizon line of skin. As new recordings are added, the oldest ones disappear, —a kind of memento mori. To participate, people introduce their finger into a custom-made sensor equipped with a digital microscope and a heart rate sensor; their fingerprint immediately appears on the largest cell of the display, pulsating to their heart beat.
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"Cardinal Directions", is a kinetic sculpture which consists of a surveillance monitor that displays an extract of Vicente Huidobro´s poem "Altazor" (1919-1931). Refering to the geography of his native Chile, Huidobro wrote "The four cardinal directions are three: North and South". When a presence is detected by infrared sensors, the monitor starts to rotate. As the poem is "geolocated" it always aligns itself to the cardinal points, and the public must walk around the piece in order to read it, like a kind of periscope.
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“Nothing is More Optimistic than Stjärnsund” consists of twenty modified padlocks which can be interconnected to create chains or assemblages, as the collector or curator sees fit. The piece is intended as a construction kit with a plethora of possible combinations, like a Meccanno, and is a hommage to Lygia Clark's "Relational Objects”.
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“Pulse Phone” is an application that measures your heart rate by using the iPhone's built-in camera and flash. The application detects small variations in the opacity of your finger as blood flows through it and calculates your pulse in beats per minute using this information. The app visualizes the data graphically and can store it for later reference.
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"Levels of Nothingness" is an installation-performance commissioned for the 50th Anniversary of the Guggenheim Museum, inspired by Kandinsky's opera, "The Yellow Sound" (1912). In "Levels of Nothingness", the human voice is analyzed by computers, automatically controlling a full rig of Rock-and-Roll concert lighting and creating an interactive colour show. For the New York performances, Isabella Rossellini read a libretto co-written by Brian Massumi, which included seminal philosophical texts on skepticism, color and perception, including writings by Kandinsky, Deleuze, Sanches, Simon Baron-Cohen and Alexander Luria. Following the performances, audience members could test the color-generating microphone.
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"The Company of Colours" (Shadow Box 9) is the ninth piece in the Shadow Box series of interactive displays with a built-in computerized tracking system. This piece shows the live camera view constructed out of a palette of named colour swatches that can be rendered by computers. Every few minutes the piece automatically switches to show the live view made with a variety of culturally-significant colour palettes from computer and video game history, including the four shades of green of the original Nintendo Gameboy, the eight colours of teletext, and the 16 colours of the Commodore 64, the Apple II and the ZX Spectrum.
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"Navier-Stokes" is a series of computer-controlled lightboxes that show satellite pictures of border regions that have a vector of economic disparity, a history of military conflict or heavy migratory traffic. Instead of using regular white fluorescent light tubes to illuminate the print, the pieces have over one hundred thousand light emitting diodes (LEDs), which can highlight tiny features within the image. The first piece shows the Tijuana-San Diego border with Mexico illuminated red by default while the US is dark.
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“Pinches Pelos” is artwork consisting of human hairs engraved using a nanotechnology technique known as "Focused Ion Beam" (FIB). Each hair was coated with a gold film, FIB engraved with words and photographed with an electron microscope. The piece consists of a metal frame that holds the hair inside a test-tube, a backlit transparency and a certificate from the Brockhouse Institute for Materials Research..
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"Reference Flow" is an interactive installation where a number of illuminated EXIT signs, supported by motorized stanchions, rotate automatically as people walk past them so that they always signal escape routes to the left. If several people stroll through the signs they get disoriented as they try their best to confront each person with his or her left.
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The series "Seismoscopes" consists of devices that detect vibration around them, from footsteps to earthquakes, and record this vibration on paper using an automated XY-plotter. As each Seismoscope registers any seismic wave it is programmed to draw an illustration of a single Skeptical philosopher, over and over again.
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“There is No Business Like No Business” is a blinking neon sign, designed during the recession as a cruel beacon of optimism. The blinking speed is directly proportional to the trading volume of any commodity index chosen by the collector or curator, say NASDAQ or Apple or FTSE100. In a slow day, or when the market is closed, the lines of illuminated text will only switch every 8 seconds, while on the busiest trading day they may blink every 2 seconds.
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"Voz Alta" (Loud Voice)(Relational Architecture 15) is a memorial commissioned for the 40th anniversary of the student massacre in Tlatelolco. Participants who speak into a megaphone automatically control the brightness of four searchlights that relay their voice over Mexico City as quiet light flashes; tuning into 96.1FM radio allows people anywhere in the city to listen in live to what the lights are saying.
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"Alpha Blend" (Shadow Box 7) is an interactive display with a built-in computerized tracking system that show the viewer's presence, revealing and blending pictures of people who have previously looked at the work. A game of "reverse puppetry" ensues, where a portrait from the past is animated by a live presence, in a similar perceptual mechanism than the one used in Lozano-Hemmer's public art installation "Body Movies" (2001).
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An interactive installation featuring powerful robotic searchlights that create static columns of light in a dark room. When someone tries to walk into a light beam, a computer automatically moves the searchlight so that the beam is pointed somewhere else on the room. A video tracking system observes the room and makes sure that the lights are always illuminating empty spaces where there is no one. People may continually attempt to enter the spotlight but the system will adapt to ensure this can never be achieved.
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"Less than Three" is an interactive installation of light strips that form a network between two intercoms. As a participant speaks into an intercom, their voice is translated into corresponding flashes of light and this light pattern is transmitted visually along one of the several possible pathways through the network. When it reaches the other side, the viewer's phrase is once again released as sound. Several voices can be carried simultaneously and the short contributions going fast through the network and the longer ones taking longer.
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"Make Out" (Shadow Box 8) is an interactive piece showing thousands of internet videos of couples looking at each other. As soon as a participant stands in front of the display his or her silhouette is shown and all the couples within it begin to kiss. The massive array of make-out sessions continues for as long as someone is in front of the work—as he or she moves away all the kissing ends.
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"Microphones" (Subsculpture 10) is an interactive installation featuring one or several 1939-vintage Shure microphones, placed on mic stands around the exhibition room at different heights. Each microphone has been modified so that inside its head is a tiny loudspeaker and a circuit board connected to a network of hidden control computers. When a public member speaks into a microphone, it records his or her voice and immediately plays back the voice of a previous participant, as an echo from the past.
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"Pulse Park" (Relational Architecture 14) is comprised of a matrix of light beams that grazed the central oval field of Madison Square Park, New York City. The intensity of each spotlight is entirely modulated by a sensor that measures the heart rate of participants. The resulting effect is a visualization of the body's vital signs, arguably our most symbolic biometric, at an immense scale and in an urban setting.
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"Pulse Spiral" is a three-dimensional spiral paraboloid made up of 400 lightbulbs arranged according to Fermat's equations, which records and responds to the heart rate of participants who hold a sensor underneath. Commissioned for the opening of the Center for Contemporary Culture in Moscow in the constructivist Bakhmetevsky Bus Garage, the piece is inspired by engineer Vladimir Shukov who worked with Melnikov on this emblematic building from 1926-28.
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"Pulse Tank" is an Interactive installation where the heart rates of members of the public are detected by sensors and converted into water waves in a ripple tank. A light show is created by the resulting waves and their interaction. To participate, insert your finger into one of the four cylinders on the side of the tank or put your hands flat on the front panel; the computer will detect your pulse and activate a solenoid which will hammer your heart rate onto the tank.
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"Reporters With Borders" (Shadow Box 6) is a high-resolution interactive display that simultaneously shows 864 video clips of news anchors taken from TV broadcasts in the United States and Mexico. As the viewer stands in front of the piece his or her silhouette is shown on the display and within it reporters begin to talk. Every 5 minutes the piece switches the video clips - from a database of 1600 - and classifies them along gender, race and country, so that for instance on the left there are only American reporters and on the right only Mexicans.
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"Wavefunction" (Subsculpture 9) is a kinetic sculpture comprised of fifty to one hundred Charles and Ray Eames moulded chairs (designed in 1948) and placed in a regular array of rows, facing the entrance to the exhibition space. When someone approaches the work, a computerised surveillance system detects their presence and the closest chairs automatically begin to lift off the ground, creating the crest of a wave that then spreads over the whole room.
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"Blow-up" (Shadow Box 4) is an interactive piece designed to fragment a surveillance camera view into 2400 virtual cameras that zoom into the exhibition space in a fluid and autonomous motion. Inspired by 20th-century Italian filmmaker Michelangelo Antonioni, the piece is intended as a an exercise to underline the construction of presence through a simulated, live compound eye.
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"Pulse Front" (Relational Architecture 12) was an interactive light installation over Toronto's Harbourfront Centre, consisting of a matrix of light beams from twenty powerful robotic searchlights controlled by a network of sensors that measured the heart rate of passers-by. Ten metal sculptures detected and measured the pulse of people who held them and their readings were immediately converted into light pulses and also determined the orientation of the beams.
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"Sustained Coincidence" (Subsculpture 8) is an interactive installation activated by the spatial relationships of visitors within a gallery. The piece consists of a series of incandescent lightbulbs that light up in reaction to the participants’ positions, in such a way that the shadows cast on the opposing wall are always overlapping. The piece is inspired by the phantasmagorias on the one hand and surveillance and digital analysis on the other.
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"Close-up", the third piece of the Shadow Box series, is an interactive piece in which a participant's silhouette reveals hundreds of tiny videos of other people who have previously looked at the work. When a viewer approaches the piece, the system automatically starts recording and makes a video of him or her. Simultaneously, inside the viewer's silhouette, videos are triggered, showing up to 800 recent recordings. This piece presents a schizoid experience where one’s presence triggers a massive array of surveillance videos.
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"Third Person" (Shadow Box 2) is the second piece of the ShadowBox series of interactive displays with a built-in computerized tracking system. This piece shows the viewer's shadow revealing hundreds of tiny words that are in fact all the verbs of the dictionary conjugated in the third person. The portrait of the viewer is drawn in real time by active words, which appear automatically to fill his or her silhouette. The collector may choose to display the words in English, Spanish or French, or a combination of the three languages.
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"Eye Contact" (Shadow Box 1) is the first piece of the Shadow Box series of interactive displays with a built-in computerized tracking system. This piece shows eight hundred simultaneous videos of people lying down, resting. As soon as a public member is detected, his or her presence triggers the miniature video portraits to wake up: hundreds of people simultaneously turn to look at the visitor directly, creating an uncanny experience that questions who is the observer and who is the observed.
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"Homographies" (Subsculpture 7) is a large-scale interactive installation featuring a turbulent light array that responds to the movement of the public using a surveillance tracking system. The installation consists of white fluorescent light tubes hung from robotic fixtures on the ceiling of the exhibition space, equally spaced. Each light tube rotates slowly using a computerized stepper motor and create labyrinthine patterns of light that make "paths" or "corridors" between people. All lights are always on and typically constitute the only lighting in the exhibition hall, except for the natural light that spills into the space.
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"Pulse Room" is an interactive installation featuring one to three hundred clear incandescent light bulbs, 300 W each and hung from a cable at a height of three metres. The bulbs are uniformly distributed over the exhibition room, filling it completely. An interface placed on a side of the room has a sensor that detects the heart rate of participants. When someone holds the interface, a computer detects his or her pulse and immediately sets off the closest bulb to flash at the exact rhythm of his or her heart.
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"Entanglement" (Subsculpture 6) is an interactive installation that consists of two identical neon signs, each measuring 182 x 38 cm. The signs simply state the word "Entanglement", a term used in quantum physics to describe the strange property exhibited by two particles that behave as one. The two signs are connected and do not work independently, turning on and off together by way of a basic light switch, even if the entangled pair is in different cities and in separate rooms.
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"Glories of Accounting" (Subsculpture 5) is an interactive installation with a surveillance system that detects the position of the public in the exhibition room. When someone walks into the room, large hands appear on the screen automatically. The hands rotate along their forearm axis, following the visitor with the open palms always facing them. As more viewers enter the room, more hands appear, each one following a member of the public.
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"Subtitled Public" consists of an empty exhibition space where visitors are detected by a computerised surveillance system. When people enter the space, the system generates a subtitle for each person and projects it onto him or her: the subtitle is chosen at random from a list of all the verbs conjugated in the third person. The only way of getting rid of a subtitle is to touch another person, which leads to the two subtitles being exchanged.
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"Under Scan" (Relational Architecture 11) is a public art installation based on self-representation. Thousands of "video-portraits" taken in Derby, Leicester, Lincoln, Northampton and Nottingham are projected onto the ground; at first, the portraits are not visible because the space is flooded by white light coming from a high-powered projector. As people walk around the area, their shadows are cast on the ground, revealing the video-portraits in short sequences.
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"Inspired by Real Events" is a series of six black and white photos taken from the point of view of surveillance cameras in different public places of Mexico City. Each photo shows a volunteer climbing a ladder about to reach the camera with his or her hand. A video on a surveillance monitor shows the sequences captured by the cameras.
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"Synaptic Caguamas" (Subsculpture 4) is a kinetic sculpture consisting of a motorized Mexican "cantina" bar table with 30 "Caguama"-sized beer bottles (1-litre each). The bottles spin on the table with patterns generated by cellular automata algorithms that simulate the neuronal connections in the brain. Every few minutes the bottles are reset automatically and seeded with new initial conditions for the algorithm, so that the movement patterns are never repeated.
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"Sitestepper" (Relational Architecture 10) is an Internet program that shows a 3D view of an apparently "neutral" living room. This space can be transformed automatically by scanning a website to extract its images, texts, colours and sounds. The system analyzes the contents of the submitted webpage and uses them to furnish and decorate the room, "branding" the space with a layer of live media. This project was commissioned for LA MOCA's digital gallery.
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"Standards and Double Standards" (Subsculpture 3) is an interactive installation that consists of 10 to 100 fastened belts that are suspended at waist height from stepper motors on the ceiling of the exhibition room. Controlled by a computerized tracking system, the belts rotate automatically to follow the public, turning their buckles slowly to face passers-by. When several people are in the room their presence affects the entire group of belts, creating chaotic patterns of interference. Non-linear behaviours emerge such as turbulence, eddies and relatively quiet regions.
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"Frequency and Volume" (Relational Architecture 9) enables participants to tune into and listen to different radio frequencies by using their own bodies. A computerized tracking system detects participants' shadows, which are projected on a wall of the exhibition space. The shadows scan radio waves with their presence and position, while their size controls the volume of the signal. The piece can tune into any frequency between 150 kHz and 1.5 GHz, including air traffic control, FM, AM, short wave, cellular, CB, satellite, wireless telecommunication systems and radio navigation. Up to forty-eight frequencies can be tuned simultaneously and the resulting sound environment forms a composition controlled by people's movements.
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"1000 Platitudes" is a large-scale photographic intervention project. It is comprised of photomontages and a video with 1,000 words or expressions commonly used to promote globalized cities to potential investors, such as "open", "modern", "clean", "multicultural" and "cosmopolitan". To make these images, a powerful projector (110,000 ANSI lumens of intensity for images of up to 70 by 70 metres) was placed on a 12-ton truck with a generator, then toured across the city of Linz, Austria.
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“Amodal Suspension" (Relational Architecture 8) is a large-scale interactive installation in which people send short text messages to each other using a cell phone or web browser. However, rather than being sent directly, the messages are encoded as unique sequences of flashes with twenty robotically-controlled searchlights, not unlike the patterns that make up Morse code. Messages "bounce" around from searchlight to searchlight, turning the sky into a giant switchboard.
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“Two Origins” (Relational Architecture 7) is an intervention in which the emblematic Place du Capitole in Toulouse was transformed by a projection of The Book of Two Origins, a 13th-century heretical manuscript compiling the theological beliefs of the dualist cathars. Once a vibrant community in several regions of Europe, the believers in the two origins of the Universe were virtually annihilated by the brutal crusades that gave birth to the Inquisition and France's expansion. The texts are illegible since they are projected overlapping each other on the same façade from two distant projectors; only when passers-by block one text with their bodies is it possible to read the other text inside their shadow.
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"Body Movies" transforms public space with interactive projections measuring between 400 and 1,800 square metres. Thousands of photographic portraits, previously taken on the streets of the host city, are shown using robotically controlled projectors. However the portraits only appear inside the projected shadows of the passersby, whose silhouettes can measure between two and twenty-five metres depending on how close or far away they are from the powerful light sources positioned on the ground.
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"33 Questions Per Minute" (Relational Architecture 5) consists of a computer program which uses grammatical rules to combine words from a dictionary and generate 4.7 trillion unique, fortuitous questions. The automated questions are presented at a rate of 33 per minute—the threshold of legibility. The system will take over 271,000 years to ask all possible questions.
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"Vectorial Elevation" (Relational Architecture 4) is an interactive art project originally designed to celebrate the arrival of the year 2000 in Mexico City's Zócalo Square. The website www.alzado.net enabled any Internet user to design light sculptures over the city's historic centre, with eighteen searchlights positioned around the square. These searchlights, whose powerful beams could be seen within a 15 kilometers radius, were controlled by an online 3D simulation program and visualised by digital cameras. A personalised webpage was produced for every participant with images of their design and information such as their name, dedication, place of access and comments.
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"Re:Positioning Fear" (Relational Architecture 3) was a large-scale installation on the Landeszeughaus military arsenal with a "teleabsence" interface of projected shadows of passers-by. Using tracking systems, the shadows were automatically focused and generated sounds. A real-time IRC discussion about the transformation of the concept of "fear" was projected inside the shadows; the chat involved 30 artists and theorists from 17 countries.
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"Displaced Emperors" (Relational Architecture 2) was an interactive installation that used an "architact" —architecture meets haptics— interface to transform the facade of the Habsburg Castle in Linz, Austria. Wireless 3D sensors calculated where participants pointed to on the façade and a large animated projection of a hand was projected at that location. As people on the street "caressed" the building, they could reveal the interiors of the Habsburg residence in Mexico City, Castillo de Chapultepec.
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"The Able Skin" is a media structure designed by architect Emilio López-Galiacho to hide any emblematic building that is not allowed to have a natural death, that is kept alive artificially through restoration, citation and simulation. A virtual reality installation allows participants to tour the first Able Skin, which covers Palladios Villa Rotonda. The participant's motion controls the point of view in the projected environments on the wall and the floor.
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"The Trace" is a telepresence installation that invites two participants in remote sites to share the same telematic space. The piece consists of light vectors, sounds and graphics that respond to the movement of the participants. Two interactive stations are needed for the piece; these are interconnected with a normal ISDN digital line so they can be in the same exhibition hall, on either side of a city or in different cities.
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"Surface Tension" is an interactive installation where an image of a giant human eye follows the observer with orwellian precision.This work was inspired by a reading of Georges Bataille's text The Solar Anus during the first Gulf War: first wide-spread deployment of camera-guided "intelligent bombs". Present-day computerised surveillance techniques employed by the Department of Homeland Security in the United States through the Patriot Act, provide a new and distressing backdrop for this piece.
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