Organized by DOX, the czech center for contemporary art, this interactive installation is completely assembled by robotic machines, untouched by human hands from conception to materialization. Drawing from the notion of viral growth, this site-specific installation is mathematically programmed to respond to viewer's interactions, then self-replicate, morphing into a life form unto itself. Light-sensitive robots at the far end of the hall are shaped by data of viewers' presence, making it a participatory work. monitored on an illuminated rectangle in the site's center, the ambient light is influenced by movements and even clothing of viewers: optical sensors use this information to create a data stream that informs the robots in their production of the shape-shifting installation.
Equipped with the data from the central monitored area, the two robots build small balls, each representing an individual photon of light. A mathematical program enables the installation's two robots to create and arrange about 2,000 5-centimeter-diameter balls every 12 hours. This use of robot-generated balls builds off of a previous data sculpture by díaz, 'geometric death frequency-141', which remained on view at MASS MoCA (massachusetts museum of contemporary art) through spring 2012.
Artist Federico Díazc created 'the work as a collateral event of the venice art biennale. Drawing from the 54th biennale's theme of 'ILLUMInations', this work integrated light with technology to examine simulation and stimulation of social
experiences in today's global society: the installation's form is defined by the engagement of visitors from across the world, enabled by the robots that transcend the limitations of the human body.