Exhibitions

The “error” in the mechanical end, so to speak, the spatial and temporal distance between 0 and 1, represents the component and the starting point of the living element. Machines make no mistakes; this sentence is often cited when you think of the incidents in Chernobyl or the crash of the Challenger. The technoid environment, as it can be found on the internet was dominated for decades by this maxim. Algorithms based on the chaos theory, allowed for the first time to create, in the otherwise exact science of mathematics, the appearance of vitality. Even in chaos theory, we find no absolute, but an approximation to unequivocal conditions such as 0 and 1. Only the discovery of quanta, and the resulting quantum technology – comprising the fuzzy logic – allows us the declaration of intermediate states, the so-called mechanical disobedience, the machine’s spirit. The human component and the social construction of the machine are based on the interface that determines the haptic link and the physicality of the automatic machine. The more imprecise and rougher the physical surface and structure is designed the more anthropomorphic emotions are generated. (“My computer goes nuts again – such a sweet car, …”). One machine can be given the appearance of livelyness by different factors. For one thing, are eyes for humans and for perception and recognition mechanisms an important organ for attention, responsiveness and communication. For humans it is very easy to run an angle calculation between two viewing directions to find out in which way a different person, another animal, or, more abstract, where a camera is “looking at“. In addition, small movements and sounds of the body, such as breathing, the beating of the heart are unconsciously perceived and can be distinguished between the living and the lifeless. An important aspect are the unimpressive body movements and a non- industrial norm aesthetic.

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