Collectif Coin

Movement, sound and light interweave in Abstract. It presents a repeating 20 minutes loop inspired by the concept of relativity. Time can be perceived as a vertical dimension in which the pixels travel. This movement will be used to freeze time while the audience keeps their feet firmly on the ground.

Fabrice le Nezet

With an urge to constantly explore the intersection between architecture, fashion, and product design, london-based artist Fabrice le Nezet has created ‘Elasticity.’ the work materializes the idea of tension by making the notion of weight and stretch palpable through the use of four massive and abstract metal structures. These components run perpendicularly across the long edges of rectangular voids in the ceiling. by presenting this normal condition, several of the wires bend to support large prisms of concrete that provide a feeling of force and motion. as they drop down to occupy spaces below, movement is emphasized by their strategic orientation below clerestory windows shining light onto the forms. As observers move around the constructs, a contrast is created between the real properties of the materials and the way they are perceived.


SPEKTRUM is an interplay of light, music and the performers. The use of projections in a theatrical context was a very pleasant experience for us, for when projections are used indoors, they can be controlled so precisely that amazing changes of perspective are possible. Once the stage is perceived as a platform, once as a white cube, once the spatial perception itself is completely challenged. As the three different elements of the performance merge into one unified language, SPEKTRUM is able to be many things at once: playful and yet fierce, touching and yet disturbing. Less a narrative than an emotional and sensory experience SPEKTRUM challenges the mind of the spectator in a quite a poetic way.

Herman Kolgen

With EOTONE, Kolgen and Letellier reflect on distance and weather, by staging something intangible yet powerful: the wind. Four sound and sculptural diffusers, containing elements of both the weather vane and the fog horn, make up this monumental installation that renders in movement and sound the direction and force of the wind blowing simultaneously on two continents: in Montreal and Quebec City on one side of the Atlantic, in Rennes and Nantes on the other. The wind data recorded in each city is transmitted live to the diffusers, controlling the orientation of each of the structures and orchestrating the combined chords that make up the harmonic whole perceived at the heart of the installation. By transforming weather data into sound, EOTONE offers a subtle artistic vision of the Internet of objects.

fabric | ch

Perpetual (Tropical) Sunshine
Perpetual (Tropical) Sunshine is an architectural, climatic and temporal installation. Thanks to a “screen” composed of several hundred infrared light bulbs, Perpetual (Tropical) Sunshine retransmits the journey and intensity of the sun as perceived on the 23rd parallel south, according to information transmitted live by weather stations all around the Tropic of Capricorn. Perpetual (Tropical) Sunshine thereby creates a displaced architectural space, which confronts the visitor with an abstract form of day and endless summer. It represents the increasingly artificial nature of our environment and suggests a form of “static mobility” or “displaced tropicality”.


Meandering River

Over time, landscapes are gradually shaped by natural forces. Indiscernible to the naked eye, we only perceive one moment at a time. The fluctuations and the rhythmic movement of rivers are a glimpse into the past, as traces provide evidence of the constant transformations that surround us.

Disney Research

Realistic and Interactive Robot Gaze
System for lifelike gaze in human-robot interactions using a humanoid Audio-Animatronics® bust. Previous work examining mutual gaze between robots and humans has focused on technical implementation. We present a general architecture that seeks not only to create gaze interactions from a technological standpoint, but also through the lens of character animation where the fidelity and believability of motion is paramount; that is, we seek to create an interaction which demonstrates the illusion of life. A complete system is described that perceives persons in the environment, identifies persons-of-interest based on salient actions, selects an appropriate gaze behavior, and executes high, fidelity motions to respond to the stimuli. We use mechanisms that mimic motor and attention behaviors analogous to those observed in biological systems including attention habituation, saccades, and differences in motion bandwidth for actuators.

Richard Vijgen

Hertzian Landscapes

Anke Eckardt

Between I you I and I me
BETWEEN | YOU | AND | ME is a wall of sound and light. Like any other wall, it defines an architectural space. Given its ephemeral, dynamic media – ultrasound and beams of light – the wall can be perceived only when the visitor comes close and interacts with it. Two thin membranes of light form a visible frame filled with sound. Multichannel, extremely vectored hypersonic speakers render audible various textures of broken glass: a sound architecture within the wall, comprised of juxtaposed single sound beams, whose constellation changes depending on the visitor’s position. Observed from a distance, the wall fades away: clear transparency and only faintly resonant tones attest to its non-existence.

Jiabao Li

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


Harmonics challenges our perception of light and sound unfolding at great speed, an illusion of time blending. As the two kinetic sculptures speed up, rotating beams of light blend to form volumes of colour, while multiple discrete sounds become a major chord. Unable to process extremely fast information, our brain reads sequential sensory inputs as a single event in time. A disconnected reality perceived as a continuum, a harmonious whole.

KANNO So / yang02


Marc Lee

10.000 Moving Cities
Visitors can select any city or place, using a digital interface. About the chosen place, the Internet is searched in real time for latest text, image, video and sound informations. Four projectors and eight audio speakers project the results into the space. Visitors are able to walk through the model and experience the information in 3D. Attracted and inspired by images, sound, text and videos, visitors explore the places and perceive fragments of the immense amount of data. Additionally audio and visuals constantly change, they are never the same, always in movement as the place as itself. Just as all cities over the world are different, so different and alive appear the projections and sounds.

Helene Nymann



From Apple to Anomaly

Woo Jung Chun



LED Eyelash
The LED Eyelash project is brought into the world from a simple question: Why do women want larger and bigger eyes? Asian women tend to have stronger needs for bigger eyes as a standard of beauty, but relatively few of them are born with naturally big eyes. Those without big eyes can only look for alternative ways to make their eyes look prettier, i.e., larger, by using a repertoire of skills such as putting on makeup and wearing jewelry. Sometimes, the desires for bigger eyes can become almost obsessive, and many women opt for plastic surgery in order to make their dream come true. Soomi calls this, the fetish of Big Eyes. LED Eyelash is a clever product that speaks to many women’s desire for bigger eyes. It features a sensor to turn on and/or off. The sensor can perceive the movements of the pupil in the eyes and eyelids. If you wear it and move your head, LED Eyelash will flicker following your movements. It is as simple to use as wearing false eyelashes and as easy to remove as taking off a piece of jewelry.

Nicole Zisman

I frequently entertain the idea that everything we perceive might actually not be real at all, that the world around me could actually just be my senses lying to me. The idea that “reality is a hoax” completely freaks me out, so naturally it became the concrete starting point for my collection. From this, I began to develop different ways of “imagining” garments, of finding ways of putting things that are not really there into existence. I wanted to blur the lines of real versus imagined//artificial. Print was the best facilitator of this goal.

Barbora Kotěšovcová

“How do we perceive mistakes and flaws and how important are those for us?” Barbora asks herself. “When a human being experiences and errs, they create a protective immunity for similar upcoming events, which they will, hopefully, solve better. Therefore, through these fashion pieces, I tried to communicate something that disrupts our personal comfort. Although we might not be fans, we need such disruptions because they push our comfort zone further and make us feel better in the long run.” Barbora Kotěšovcová

Bill Vorn

Prehysterical Machine

The Prehysterical Machine has a spherical body and eight arms made of aluminum tubing. It has a sensing system, a motor system and a control system that functions as an autonomous nervous system (entirely reactive). The machine is suspended from the ceiling and its arms are actuated by pneumatic valves and cylinders. Pyroelectric sensors allow the robot to detect the presence of viewers in the nearby environment. It reacts to the viewers according to the amount of stimuli it receives. The perceived emergent behaviors of this machine engender a multiplicity of interpretations based on single dynamic pattern of events.The aim of this project is to induce empathy of the viewer towards a “character” which is nothing more than an articulated metal structure. The strength of the simulacra is emphasized by perverting the perception of the creature, which is neither animal nor human, carried through the inevitable instinct of anthropomorphism and projection of our internal sensations, a reflex triggered by any phenomenon that challenges our senses.

Milton Glaser

“i love new york”
One of Glaser’s most recognizable works is his I Love New York logo. In the mid-1970s, New York City’s crime rate was up and the city was widely perceived to be dangerous and was on the verge of bankruptcy.In 1977, the city hired advertising agency Wells Rich Greene and Milton Glaser to design a logo to increase tourism and boost morale. It was Glaser who came up with the design while sitting in the back of a taxi cab on the way to the meeting.The logo consists of the capital “I” and a red heart, stacked on top of the letters “NY” in American Typewriter typeface, symbolizing New York. His inspiration for the logo was Robert Indiana’s LOVE design, with the four letters stacked on top of each other. “Glaser loved New York so much that he gave his work to the city for free, hoping it would become public property.

Kenny Wong

file festival

Tatsumi Hijikata


Hijikata conceived of Ankoku Butoh from its origins as an outlaw form of dance-art, and as constituting the negation of all existing forms of Japanese dance. Inspired by the criminality of the French novelist Jean Genet, Hijikata wrote manifestoes of his emergent dance form with such as titles as ‘To Prison’. His dance would be one of corporeal extremity and transmutation, driven by an obsession with death, and imbued with an implicit repudiation of contemporary society and media power. Many of his early works were inspired by figures of European literature such as the Marquis de Sade and the Comte de Lautréamont, as well as by the French Surrealist movement, which had exerted an immense influence on Japanese art and literature, and had led to the creation of an autonomous and influential Japanese variant of Surrealism, whose most prominent figure was the poet Shuzo Takiguchi, who perceived Ankoku Butoh as a distinctively ‘Surrealist’ dance-art form.


When Platitude Becomes a Form
When Platitudes Become Form claims to ‘manipulate the processes through which art is distributed in order to set in motion the mechanisms of social change’ and under such explanation would tend to be perceived by the viewer as honest discourse considering the supposed transparency of it’s exposé and the implied integrity in its claim for social change. This apparent honesty begins to fall apart, however, through incoherencies between Christopher’s personal action towards individuals and his fabricated public-facing persona.

Peter Coffin

פיטר קופין

Interested in the way people perceive and interpret, Peter Coffin’s conceptual interdisciplinary practice plays with both the limitations and possibilities of our perception. Drawing on art history, science, psychology, and epistemology, Coffin creates multimedia works that reassemble the world around us in a way that makes us question our preconceptions and gain new perspective.


Anamorphic sculpture



tree boat



Perceived Soundscape


“Man lives his life in sleep, and in sleep he dies.” ‘As a result of this each person perceives things from a completely subjective perspective. He asserted that people in their typical state function as unconscious automatons, but that a person can “wake up” and become a different sort of human being altogether” GEORGE IVANOVICH GURDJIEFF

meetings with remarkable by Peter Brook


Camera Lucida: Sonochemical Observatory
Camera Lucida (chamber of light or lucidity) directly transforms sound waves into light emissions by means of a phenomenon known as sonoluminescence. After adapting to the darkness surrounding the installation, one gradually perceives the detailed configurations of glowing sound fields.