Worksarea V5

The Tillers' Girls
2009-2010
Robotic Performance
The Tiller Girls is a group of 12 small autonomous robots. These robots were
developed in Artificial Intelligence for the study of gaits given minimal freedom of movements. The robots can only balance their torsos and shoulders
but they can yet achieve a large variety of expressions and behaviors.
Performers in the traditional performing arts such as music, dance and theatre are generally thought to have both technical skills and interpretive skills,
where the latter skills are regarded as specific human skills. This piece walks
along this thin line.
Auslander highlights the grey area between these with examples from the
famous early 20th-century Tiller Girls synchronized chorus-line dance, in
which human performers are called upon to exercise their technical skills but
not their interpretive skills.
Exhibits
Vida 12.0 - Artificial Life Mention

Cyberlabor (Austria)
Bain Numeriques (France)
Lille 3000 (France)
Productions
ProductionsProcessing-Plant
Processing-Plant//Louis-Philippe
Louis-PhilippeDemers
Demers 1989-2010
Area V5
2009
Interactive Robotic Installation
Recent developments in the field of Social Robotics and Artificial Intelligence

call for the prominent role of eye movements in establishing meaningful dialogue between humans and machine.
Area V5, the brain area thought to perceive motion, is an artistic comment on
the social robots hypothesis. The installation will invite the viewer to experiment the enigmatic gaze of disembodied eyes in an out-of-context surveillance from impotent machines.
Exhibits
2009 Museum of Civilization
(Quebec)
Productions Processing-Plant / Louis-Philippe Demers 1989-2010
Wind Tunnel
2009-2010
Interactive Public Installation
The Wind Tunnel is a long corridor where passengers in transit can experience the created turbulences of aeronautical test chambers.
The corridor is lenght is of an arbitrary dimension where the longest span
would give the outmost vanishing point.
The tunnel could namely be deployed in parrallel to moving escalators and in
long transit spaces.
The sensing surface is retrofitted into the floor (using propriertary multi-touch
ruggedized capacitive matrix) while the visuals are displayed from the top via
an array of video projectors. The visuals will vary from time to time and will
marry the architecture of this long corridor.
Exhibits
Japan Media Arts Festival 2010
Productions
1989-2010
Demers 1989-2010
Prayers' Drum
2009-2010
The Prayer's Drums is an interactive multi-touch installation. The visitors are

invited to touch and spin a large-scale array of virtual drums.
Each of the drums possess a sound scape that react accordingly to the spinning amplitude.
The lenght of the wall is of arbitrary lenght. The soundscape will be reinforced by an array of directional speakers. The sensors are retrofitted into the
wall using propriertary multi-touch ruggedized capacitive arrays.
The visual representation of the drums will be abstract. However, upon spinning a drum, the revolving surface will reveal light and/or real-time video of
activities happening "beyond" the wall.
Exhibits
Remoteness, Frankston Art
Centre (Melbourne)
Prix Ars Electronica 2010,
Honourable Mention,
Digital Musics.
Productions
1989-2010
Demers 1989-2010
The Beat Table

2009-2010
Interactive Multi-Touch Installation
The Beat Table is a multi-user musical instrument.

The table presents to the participants a visual interface of the typical beat
box machines. There are four tracks with sixteen time divisions. The volume
of each sound sample is depicted by a three-dimensional volume.
Predefined arrangement of sounds is provided so that the table enables to
construct grooves of various styles.
The table is scalable and utilizes custom made capacitive sensing tiles.
Exhibits
Productions
1989-2010
Demers 1989-2010
The Sonic Bugs

2009-2010
Interactive Ambisonic Multi-Touch Installation
The Sonic Bugs explores interface perception of sonic shared environments.

An optical multi-touch table is augmented with 3D ambisonic sound space.
Sonic Bugs travel along a virtual water surface while spatially shifting their
respective sound in the room.
Sonic bugs travel paths can be altered by the participants. They create points
that attract, repulse, deviate and even entrap the sonic bugs.
Exhibits
Productions
1989-2010
Demers 1989-2010
Panorama
2009-2010
Proposal
Airports are transient areas out of time and space. To recreate a sensation
of location, Panorama will present a 360 degrees view of the sourrounding of
the termimal (or key area of the city).
By utilizing real-time video stitching and by deploying a large array of wireless cameras around the terminal, this outside membrane will recreate an
outstanding panorama of the surroundings.
Exhibits
Productions
1989-2010
Demers 1989-2010
Mechanical Pixels
2009-2010
Proposal
Light pixels emanating from usual videowalls or projectors are replaced with
physical entities.
The proposal aims at utilizing known icons of the aeronautical industry.
The intensity of a pixel could be reproduced by high spinning air instruments
(see below right) or by utilizing their directionality.
As well, pixels could be incarnated by pan&tilt small rods that would augment
the display in a 3d space. Such rendering are used in visualization of phenomena (above right).
Exhibits
Productions
1989-2010
Demers 1989-2010
Natural Teratology
2009-2010
Interactive Robotic nstallation
Collaboration with Brandon Ballengee
Proposal
Biologist and Artist Brandon Ballengee is working on finding the causes of

these malformed frogs.
Together with Louis-Philippe Demers, the project is to manufacture robotic
renderings of these frogs. In nature, these frogs are very small, approx. 2cm.
The robotic incarnation will be the size of a human todler.
The process is creating 3D modeling of these frogs and synthesize them with
rapid-prototyping while adding pneumatic muscles to the skeletons.
Investigations to use biological elements instead of polymers are also being
explore.
Exhibits
Kinetic Toys
2009-2010
Proposal
Deployable structures, in perticular Bricard geometries, generate a vast

constellation of patterns and intricate movements.
These kinetic toys displace the original architectural intent into
mechanomorphic locomotion gaits.
Exhibits
Devolution
2006
Robotic and Dance Performance
Collaboration with Garry Stewart &
Australian Dance Theatre
"In Devolution we are acknowledging the robots as machines and in doing

so we are also exploring the mechanical, machine-like function of the human
body. This, as well as the zoomorphic potential of bodies. By distorting
the body away from an upright pedestrian orientation and challenging the
Cartesian view of the body, Ive been trying to posit humans as animals,
which of course we are. There is also something very creature-like about
Louis-Philippes previous robotic work, so it really provided the cue for me to
head in this direction. Ive been working with the dancers on exploring choreographic relationships that respond to ecosystem processes: territoriality,
parasitism, predation, symbiosis, senescence, birth, death and growth, which
has included a series of discussions with a local biologist, Steve Griffiths."
- Garry Stewart
Exhibits
2006 Adelaide Festival
2007 Sydney Festival
2007 Theatre de la Ville Paris
Prizes.
2006 Helpman Awards

Best Lighting

Best New Production
2006 Ruby Innovation Award
2006 Australia Dance

Outstanding Perf.
The Three Monkeys

2007
Interactive Robotic Installation.

Three discrete manipulators swing around their cage and follow visitors.
A commission from Norgren as part of their 2007 Hannover Messe stand.
Exhibits
2007 Hannover Messe Norgren Stand
COLONIE 003
2006
Interactive robotic installation
This colony is based on the Stewart or Gough platform (see below) where
four layers of this mechanical assembly are joined together.
Each plaftorm posseses six cylinders for a total of 24 cylinders per colony
member.
This installation is also called "The Twins" as two of these machines are set
up in a cage following any of the visitors' movement.
An instance of this trunk was also utilized in Devolution.
Fully deployed, the robot spans for around three meters.
COLONIE 002
2005
Robotic Character for a dance performance
Collaboration with Pablo Ventura
This colony is based on the delta manipulator (see right) where three layers
of this mechanical assembly are joined together.
The machine was presented at the end of Pablo Ventura's Fabrica III and
also during a machinic dance solo.
Fully deployed, the robot spans for around four meters.
Exhibits
Fabrica
Tanzhaus Wassewerk
Zurich 2005
Figuren Theatre
Erlangen 2005
Teatro Cuyas
Las Palmas 2005
Kubic's Cube
Tesla / Transmediale 2006
En Attendant le
Mtro
2004
Public space robotic installation
Collaboration with Robert Lepage
A parallel world, a colony of robots staged in the same situation as public transit passagers, simply waiting for the next subway - endlessly!. This
Jaquemart is somehow classic since it represents a staging of human activities, the one of ephemerous and regular commuting passengers. However,
it does incarnates a world of its own, an invented underground out of time,
space and unreachable. The Jaquemart beats the time on its own way: it
does announce the incoming subway. Which passenger has not run after the
incoming train due to the wind draft? The robots are the clock of the subway:
mechanical, sequenced and automated. The time underneath the surface of
the world is somehow stopped. This is represented by a negative action - no
action ritual - which tells the outside world time. A sort of minute of silence,
every hour, at the memory of their perpetuous waiting.
Exhibits
Lille 2004 /
European Capital of Cultrure
COLONIE 001
2004
Interactive Robotic Installtion
This is the first installation of a serie of robotic colonies. All these machines
are based on either existing or theoritical mechanical structures envisioned
to be used at the nano mechanical stage or on industrial manipulators used
in assembly lines. The manipulators are not the typical 6DOF robot arm but
rather positional devices using complex mechanical shapes.
Being blown up to human visibility and body size, the visitors can experience
these now deviant macro-nano-robots in the context of colonies. Out of the
assembly line, the robots are lost, seeking for a new meaning of life.
Colonies are groups of similar machines are created, namely 8 to 16.
The behaviours of the colonies are fictituous.
Exhibits
Montreal Science Museum 2004
ARMAGEDDON
2004
Robotic Characters for an Operetta
in collaboration with Art Zoyd
In 200041 after the invention of the record player, human beings have done
a bunk, i.e. they have been lost with all hands, but not their souls or angels.
Fortunately, industrial robots have survived, and their role and raison d'tre
are that of perpetually playing out the great human myths: The Gallic War,
Operation Desert Storm and Armageddon, operettas in an inimitable style,
full of killings, massacres and liquidations. The robots, each of which has an
enormous loudspeaker for a mouth, are 21 in number; 12 form an articulate
choir of thaumaturgic angels. No human voices, only voice synthesis: barbaric words and songs to the gentle metallic swish of the first human-type
grunts, a real operetta libretto with entrances and exits, interjections, divine
interventions, spoken and sung dialogues, mistaken identities, and, as a
finale, an armed battle: a real carnage.
Exhibits
Lille 2004 / European Capital of
Cultrure.
Le Mange 2004
LASSEMBLEE
2001
Robotic Performance
L'Assemble is the staging of the confrontation between man and a popular

gathering constituted solely of machines. This installation regroups a total of
48 members layed out on a metal structure depicting the shape of an arena.
This architecture creates a central focal point where a single visitor is invited
to take place and called upon to perform.This individualized and solitary
experience sets the visitor at the centre of an elusive spectacle, in the role of
the last human.
Beautifully nuanced movement in tune to the surrounding dromoscopic
sounds: light waves sweeping across the crowd of faces, arching upwards
in Triumph of the Will light sculptural motifs' sometimes released from the
codes to move at the pace of individualized robotic whimsy... Robots as new
media stars -- Arthur & Marie-Louise Kroker
Exhibits
Oriente Occidente 2004
Lille 2004 /
EMAF 2002
EXIT 2002
VIA2002
ELEKTRA2001
FER 2001
SHOCKHEADED
PETER
2000
Robotic characters for a junk opera
Collaboration with Director Michael Simon
From the instant that our Creator breathed life on this draughty old planet
we call home, mother nature has been scribbling away at her drawing board
delivering a diversity of designs as distinct from one another as the weevil
and the whale. From the tiger to the tapeworm, from the person to the flea.
But sometimes Ma Nature gets drunk with her power and creates in a blinding flash of inspiration a singular anomaly a masterpiece of uniqueness never
to be repeated never to be seen again,never to be jostled from it's stool in
the dust covered archives of legend. Let us follow and observe as he goes
about his respectable business. -- excerpt from the play
Exhibits
Dsseldorf
Schauspielhaus 2000
r111-MagneticModule
2000
Interactive robot
in collaboration with Supreme Particles
Energy potentials are collected from the internet and from the local movement of spectators in the physical space of r111.
The Magnetic Module consists out of a matrix of magnets under a metallic platform. on the platform is a collection of different granular media (little
balls), both magnetic and non-magnetic. with this setup, we can create structures (flows, concentrations) that visualize the systems energy potential with
the help of granular media.
Exhibits
PASS (2000)
EXIT 2000
Canon Art Lab (2000)
Prizes
Honorable Mention
Ars Electronica 2002
Selection
MedienKusnt Pries SWR 2004
Le Procs
1999
Robotic Installtion & Performance
Collaboration with Bill Vorn
created for Robert Lepage & Peter Gabriels Zulu Time
LE PROCS shows in a symbolic way the trial of machines by men, as well

as the trial of men by machines.
It acts like a reflexive tribunal where identities intermix, where juges, jurors,
victims and accused, take flesh in metal creatures born from our own conception of the world, of what is good and what is bad, of what is alive and
what is not. As in Kafka's famous novel, of which crime are we accused?
Who's judging? What will be the verdict?
Exhibits
Oriente Occidente 2004
Lille 2004 /
EXIT 2003
VIA2003
EMAF 2002
Quebec2001
Creteil 1999
Zurich 1999
La Cour des Miracles

1997
Interactive Robotic Installtion
LA COUR DES MIRACLES is an interactive robotic installation, an unusual

multimedia environment reacting to viewer's presence. This installation follows our approach of creating fictitious spaces designed for machine populations and cybernetic organisms societies which express metaphoric behaviors, spaces that are surrealistic immersive sites where viewers become both
explorers and intruders.
Exhibits
Areale 1999
V2 1999
Muse de Soissons 1999
Contemporary Arts Museum
of Montreal 1998
ISEA1997
Prizes
1st Prize VIDA Articial Life - 1999
No Mans Land
1996
Interactive robotic environment
Commissionned by Ars Electronica
This installation invites the viewers to consider an invented habitat solely

made for robots. Each robot specie has a distinct structure and behavior.
These species are:
The Herd - A group of eight long tubes flocking together.
The Attractors - A group of four swinging lights, suspended in the air.
The Parasites - A set of sixteen percussive units hook onto other machines.
The Prisoners - Two robots crawling on the floor retained by their cabling.
The Colony - Eight invisible machines living in a pile of metal junk.
The Flaunted - Eight hanging machines,dripping water to flaunt theirmates.
The Scavengers - A group of scavengers fighting over a piece of metal.
The Inverted Scavengers - Scavengers but with an inverted mechanism.
The Untamed - Four robots frenetically banging their cages.
Exhibits
Prizes
Distinction, Interactive Kunst
The Frenchman Lake

1995
THE FRENCHMAN LAKE is an invented aquatic ecosystem composed of

sensitive and expressive cybernetic organisms. This metaphor feeds on the
organic sounds and movements in order to create an hybrid between nature
and the artificial.
The installation comprise of a network-society of sixteen submarine robotic
units coexisting in a common basin (or a set of containers) where viewers
can circulate freely around. The choice of an aquatic environment comes
from the quest of recreating unusual habitats for robotics organisms, a space
which also acts as a catalyst of new possibilities for sound and light diffusion. This installation is part of our exploratory work on immersive metaphoric
environments via the utilization of machines that produce movement, light
and sound.
Exhibits
Sonambiente 1996
ISEA 1995
At the Edge of Chaos

1995
AT THE EDGE OF CHAOS is a subset of a wider study on robotic genderization through metaphoric animal-like behavior. In the present case, four
machines seem to fight for a piece of meat or dead animal: they are bulky
and noisy scavengers. The piece of meat is a steel cube simultaneously
pushed back and forth by four pneumatic actuators where the friction of the
cube against the floor generates a high repetitive pitch.
The machines are sinked into a trap in the middle of the space. Viewers can
walk above the trap since a grid covers the opening and enables the audience to see through, beneath their feet. The robots behavior is altered by the
viewer's presence and sometimes totally independent and autonomous.
Exhibits
Images du futur 1995
Prizes
Distinction, Interactive Kunst
Espace Vectoriel
1993
ESPACE VECTORIEL paraphrases the mathematical term vector space

in which information or behavior is expressed in terms of vectors: entities
represented graphically by lines or arrows. We often see computer graphics
images made of vertices and vectors: a raw representation of more complex
objects.
The group exhibits both dependent and independent 'behavior'; the complexity of reaction and movement caused by this plurality seems no longer predictable. This suggests the impression that the installation has an autonomy
of its own and invites the visitor to acquaint himself with these fictitious
characteristics. This reactive robot installation shows us a hybrid world somewhere between nature and artificial life, thus paraphrasing the idea of vector
space.
Exhibits
Sonar 2003, Barcelona
Artec 97, Nagoya
Art Futura 96, Madrid
DEAF 96, Rotterdam
Sound Art 95, Hannover
Palomar, Montreal
Sonar 94, Barcelona
EMAF 93, Osnabrck
SIGGRAPH93, L.A.
Prizes
Best of Show, IDMA 96
Es: Das Wesen

der Maschine
2002
European Media Art Festival

(Osnabrck, Germnay)
Monographic exhibit in the context of the European Media Art Festival. A
1000 square meters old medievail church filled with more than 60 robots,
towers of ten meters high and thousands of kilos of scaffolding.
Works:
Vorn - Evil/Live
Vorn - Stle 01
Demers - LAssemble
Demers/Bredehorn - Ropebot
Demers/Vorn - Le Procs
Exhibits
EMAF 2002
ROBOTIC Festival
2001
Curator
Parc dAventures Scientifiques
(Frameries,Belgique)
Festival organisation and programme. Fundations for a serie of biennales.

Events included art exbihibits, video sessions, panel discussions and Lego
Robots ateliers for the children.
Artists exhibited:
HfG Student Group
Grard Boyer
Robot Lab
France Cadet
Exhibits
FER2001
Parc dAventures Scientifiques
Frameries, Belgique
Wishing Well
2007
Interactive Multi-Touch Installation
The Wishing Well Liquid Stage is part of a series/studies of interactive

installations rendering pixels in various spectrum of stages of matter in action
liquid, solid, gaz and rooted in the four elements: water, earth, fire, air.
Rendering pixels is seen as a broad translation of the Wishing Well. These
stages will encompass the use of mechanics, robotics, electro-magnetic,
pneumatic, sound and light. When the studies will be completed, this will also
represent a research on visualization and alternate sources of displays.
The Dry Liguid Study explores the paradigm of multi-touch interaction and
enables an unlimited number of visitors to engage in the experience of touching a dry water surface...
Exhibits
2007 IDAT - Singapore Science
Centre
iTAG
2006
hyper-muzak from elektro-smog

Collaboration with Philippe Jean
Flooded in a world of portable audiovisual products such as mobile phones

and MP3 players, iTag is an ironic statement about all kinds of electronic
pollution that surrounds us, RFID technologies being one more instance of
this ever growing smog. The iTag is a simple portable device that read RFID
tags of proximate products and generates ambient musak inspired from this
collected data. The iTag then looks and operates in the same manner as
these already existing players; a small machine coupled with earphones. We
pastiche the visual icons and brandings of these companies while commenting on the overwhelming flow of paid music downloads and ring tones. With
iTag, just go in your favourite shopping alley.
Musak is one of the western culture artefacts of the consumer environment.
Normally used (mostly imposed to the shoppers) to create comforting mental
states and to predispose to purchase, iTags musak rather intends to generate
social awareness in the listener.
Exhibits
2006 Tagged Exhibit - London
Interactive Floor
2004
Interactive Performance Floor
collaboration with Philippe Jean / Ateliers Numriques
Cirque du Soleil / MGM
A large interactive floor is constructed used novel capacitive sensing technologies. The surface is approximatively 120sqm and more than thirty performers will be interacting at once. This surface can perform full 360 degrees
rotation while being able to move up and down by ten of meters.
Images are created by Holger Forterer under the direction of Robert Lepage.
The system generates "tracking" images at a rate of 30fps and sent them to
a real-time video image synthesis system.
The piece is a commission of Cirque du Soleil for their new MGM Las Vegas
performance.
Exhibits
MGMGrand Hotel, Las Vegas
Opening end summer 2004
3D Multi-Touch
2007
Interactive Multi-Touch Research
Richness in humans sense of touch lies in that it lets us feel the texture, temperature of the object, or simply the joy of manipulating, grasping or squeezing with our hands. In the world of conventional HCI, this richness of sense
of touch has somehow been lost in the digital jungle, and therefore it is our
aim to revive it. This proposal will research far beyond conventional touch or
haptic interface such as key press, screen touch and mouse scroll; we want
an unconventional touch sensitive interface.
We propose to research and develop a multi-touch surface which can be used
together with three-dimensional physical objects. We will develop thin, flexible
surface layers which have pixelized miniature capacitive sensing nodes; and
affix this surface to 3D objects. We selected the capacitive-sensing approach
because it can be made as thin laminates and therefore, it has more potential
to conform to arbitrary-shaped objects.
Exhibits
Hypersymphonic
2002
Interactive Stations
The exhibition has been produced by the Muse de la civilisation as part of

the centennial celebrations of the Orchestre symphonique de Qubec, in
cooperation with Yamaha, Mecart, Gesellschaf der Musikfreunde of Vienna,
the Association des musiciens de lOrchestre symphonique de Qubec, and
the Cultural Development Agreement between the City of Qubec and the
Ministre de la Culture et des Communications du Qubec.
This highly interactive exhibition gives visitors an opportunity to discover the
many facets of symphonic music and to better understand the relationship
between musicians and their conductor. What do a conductors gestures
mean? What is the difference between symphonic and philharmonic music?
Why do the musicians in an orchestra always wear black? How do you
become a conductor?
Exhibits
Museum of Civilsation 2002-03
Quebec City
Schillerhaus
Fountain
2003
Interactive Water Fountain
The goal is to realize an outside interactive water fountain giving an entertaining but yet simple and readable dialogue to the visitor.
The fountain must therefore react to the presence of people and as well,
react to the presence of many visitors simulteanously.
The Interaction Scenario is based on the simple and common image of
Moses splitting the water of the sea. In a similar way, the proximity of a visitor will close down neihbouring water spray.
Exhibits
Frankfurt Schillerhaus TBA
Point of View (POV)
2004
Interactive Public Installtion

Collaboration with Karin Knott
A network of Pods, similar to coin operated binoculars, are installed in key

public locations. Visitors can record activities from the panorama. Further
viewers browse these public urban diaries simply by pointing back the pod at
the subject. Public squares in cities are intended to serve the communicative
exchange among people: a location for meeting and discussion.Public spaces, especially the ones chosen by tourists, have become transitory spaces
and are losing their significance.
Points of View (POV) is comprised of an ensemble of pods similar to coin
operated binoculars, an icon of tourist landmarks. Retrofitting them with an
adapted viewfinder including a video camera, encoders for pan and tilt and
embedded internet-linked computer, these binoculars can now record what
they see and hear. In the same way, they can also play back footage recorded from another visitor a while ago.
Exhibits
Submitted to FusedSpace interntional public space contest.
Lost Referential
1998
Interactive Lighting Installation

The kinetic and chaotic nature of a crowd movement is reflected back by an

apparent living convolution of light a large echo chamber of sound and light
in the Great Hall.
Lost Referential proposes to project artificial life principles to an interactive
kinetic light architecture. A set of eight automated luminaries will have their
focal point computed by a flocking (herd like) behaviour.
These lights will not be passive actors manipulated by direct interactive
manipulation. They will be true living characters, on a constant move, evolving and reacting to the audience.
Exhibits
LIGHTFORMS 98, NYC
Prizes
Interactive Award Lighting
Design Competition
Museum Park
1996
Public Space / Interactive Sound Scape

Collaboration with Christian Mller
An interactive light and 3D audio sculpture in the Museum Park designed by

Rem Koolhaas on the occasion of the City of Rotterdam Summer Festival. In
this installation a sound can be moved around in space and listened to over
headphones by alternatively entering the four light sensors positioned on the
floor.
Over a surface of 80 x 80 meters, eight approx. 12 meter high lighting gantries surrounded a wooden floor perforated with light sensors. By entering
the areas marked for the sensors, visitors were abble to change the state
of lighting and to shift a number of highly differing sound patterns around in
space. This otherwise hardly frequented location in the heart of Rotterdam's
downtown became a center of urban youth culture thanks to the installation
and favorable weather conditions.
Exhibits
V2, Rotterdam 1996
Electro-Clips
1994
Interactive Dance Performance

Collaboration with Christian Mller
TAT and Ars Electronica
'Electro Clips' is an installation for ballet which enables the dancers to interact with light and sound directly. The visual and acoustic symbols which ballet normally uses as givens are produced and influenced in 'Electro Clips' by
the dancer Stephen Galloway, his movements and choreography. A parallel
environment of sound, light and movement is produced.
The dancer assumes the role of a director in that he can use the changing
functions of the sensors distributed about the stage area like a keyboard to
manipulate sound and light.
Exhibits
Ars Electronica 94
Theatre am Turm , Frankfurt 94
Dance Fest, Munich 95
Prizes
Honorable mention,
Interactive Kunst
Frankfurt Airport
2000
Collaboration with Supreme Particles,

Satis&Fy and FAG
The exhibition space presents a "mobile" multimedia world that explores

the theme of networked transport by means of light effects, film and sound.
Meanwhile, the attached "Chill-out Zone" focuses on comfort, relaxation and
information.
Transport systems integration for improved mobility Frankfurt Airport as an
integrated transportation hub Comfortable, seamless, environmentally friendly
travel, amid growing passenger and freight volumes
Exhibits
Frankfurt Airport, 2000
Interactive
Technologies
Touch Sensors - Score following Hypersymphonique (above)

Capacitive Sensing - Interactive Floor - Cirque du Soleil (below)
Heat Sensors - Video Distorsion - Bgeltisch (1)
Pyroelectrics - Motion Detectors - Cour des Miracles (2)
Voice / Gesture Follower - Dance Performance (3)
Motion Tracking - F.A.G. (4)
Light Sensors - Public Space (5)
Accelerometers / Gesture Follower - Museum Kiosque (down)
Exhibits
Las Vegas 2004
Museum of Civilisation 2002
HfG 2000
Contemporary Arts Museum
Montreal 1998
ISEA 1992 / Cyberarts 1992
Fraport 2000
Museum Park V2 1996
Interactive Lighting
1989-2008
Research & Development
This research investigates relations between interactive/live lighting and

dance. Altered rehearsals methods, new gestures, choreographing the light
as well as the performers and design concerns are among the subjects
reported by this work.
The study of live lighting has been conducted through the research on an
interactive lighting system,@FL. This system does not only considers light
tableaux with the traditional cues but also with behaviors and algorithms to
give a more dynamic movement to the light.
Exhibits
Theatre am Turm 1994
ISEA 1992 / Cyberarts 1992
Dance&Tech 1995
Museum Park V2 1996
Banff Centre 1990
USITT 1990
Lighting
Samples of lighting design.

Embedded lights into scenery (above,below and bottom).
Lighting for dance(side).
Lighting by and for robots.
Exhibits
Jeanne la Folle, Tokyo,Mexico
Devolution, Sydney, Australia
Andrea Davidson, Montral
autre gauche, Banff Centre
Electro-Clips, TAT
Assemble, Elektra 2001

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The Tillers' Girls

Vida 12.0 - Artificial Life Mention

Recent developments in the field of Social Robotics and Artificial Intelligence

Productions Processing-Plant / Louis-Philippe Demers 1989-2010

The Prayer's Drums is an interactive multi-touch installation. The visitors are

The Beat Table

The Beat Table is a multi-user musical instrument.

The Sonic Bugs

The Sonic Bugs explores interface perception of sonic shared environments.

Biologist and Artist Brandon Ballengee is working on finding the causes of

Productions Processing-Plant / Louis-Philippe Demers 1989-2010

Deployable structures, in perticular Bricard geometries, generate a vast

Productions Processing-Plant / Louis-Philippe Demers 1989-2010

"In Devolution we are acknowledging the robots as machines and in doing

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

The Three Monkeys

Interactive Robotic Installation.

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

L'Assemble is the staging of the confrontation between man and a popular

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

LE PROCS shows in a symbolic way the trial of machines by men, as well

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

La Cour des Miracles

LA COUR DES MIRACLES is an interactive robotic installation, an unusual

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

This installation invites the viewers to consider an invented habitat solely

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

The Frenchman Lake

THE FRENCHMAN LAKE is an invented aquatic ecosystem composed of

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

At the Edge of Chaos

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

ESPACE VECTORIEL paraphrases the mathematical term vector space

Es: Das Wesen

European Media Art Festival

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Festival organisation and programme. Fundations for a serie of biennales.

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

The Wishing Well Liquid Stage is part of a series/studies of interactive

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

hyper-muzak from elektro-smog

Flooded in a world of portable audiovisual products such as mobile phones

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

The exhibition has been produced by the Muse de la civilisation as part of

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Interactive Water Fountain

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Point of View (POV)

Interactive Public Installtion

A network of Pods, similar to coin operated binoculars, are installed in key

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Interactive Lighting Installation

The kinetic and chaotic nature of a crowd movement is reflected back by an

Productions Processing-Plant / Louis-Philippe Demers 1989-2008

Public Space / Interactive Sound Scape