LAb [au]

"m0za1que is a permanent artwork for ‘La Maison Mécatronique’ in Annecy-Le-Vieux, France. The main wall of the entrance hall 3.4m x 6m is divided in 26x15 squares. Each of the 390 tiles is motorised by a linear actuator with a range of 10cm. The individual control of the motion creates different three-dimensional reliefs of geometric patterns evolving following the logics of cellular automata.

During day these programmed motifs draw black shadows whereas in the evening they draw coloured shadows: The illumination by three light-projectors in primary colours of red, green, and blue leads to a global white illumination of the wall but the tiles’ shadows appear in the secondary colours of light. These coloured surfaces appear and disappear according to the tiles’ movement.The artwork relates motion with colour through the phenomena of light; while it’s mechanic and electronic system is exemplary for the very function of the building." See more;

"The resulting mosaic can be compared to the electro-magnetic functioning of a memory slot in computation logics. The-so called 'place holder', having here the size of the matrix of tiles, can be filled with binary data and where this magnetic action leads in the installation also to physical motion. Information emerges not only out of the binary state but out of the relative position of the tile in the matrix. What in terms of computer logics is referred to as sequential data becomes here spatial data.


When no data activates a tile, the rigorous absolutely white surface is nothing but emptiness: zero is flat and white or pure light. When tiles are activated shadows outline their sharp-edged square shape, one is dark or no light. This transposition of the operating modes of the installation to the binary logic of computer memory is the origin of the project name 'm0za1que'. In this manner the installation gives the inherent computation logics a proper esthetic both on the level of its physical realisation and on its kinetic behavior." - LAb [au]

"The project ‘particle synthesis’ started from the idea of combining 3D particle engines with granular sound synthesis, a research mainly motivated by the possible convergence of visual, sonic and spatial parameters processed in real time within electronic space. Both technologies are considering a shape, a form or a sound as the result of many combined elementary particles which would be individually neither visible nor audible. In computer graphics the tiny graphic elements are named ‘particles’ whereas in granular synthesis many names exist for the sonic ones such as ‘sonel’, ‘sonic quanta’... The very broad notion of particle as it can be applied to sonic and visual elements has been retained for the project name as ‘synthesis’ in reference to the way sound is processed. 

The hexagonal shape of the installation translates these sonic and spatial specificities: six networked computers, each rendering 60 degrees of the 3d scene, are boxed in a transparent Plexiglas case also including a speaker. These boxes have the shape of a stage monitor and are placed next to each other on the ground to constitute the hexagonal ring. The speakers and screens are oriented towards the center of the installation offering the visitor inside the ring an immersive and ‘spatialised’ experience whereas the ‘external’ view rather gives a complete vision, an overview, of the setting. This principle is also present in the design of the hardware, from outside the spectator see through the transparent box the ‘stripped’ electronics whereas from the inside only the screen image remains visible. In this manner the specific shape and design of the installation initializes the viewer to the project specific spatial, sonic and technological setting and invites him to enter the installation. Once the spectator has taken the engagement to enter the installation he takes part of the visual and sonic space and as such the spectators’ ‘act’ shifts the statue of the installation from an object (external perception) to a space (internal perception)." - LAb [au]