Different ways to infinity is a science fiction artwork using a variety of media. The installation proposes a collection of archives from an imaginary scientific laboratory. It is composed of 3 parts: parts 1 and 2 are inspired by chaos theory and approach infinity through complexity; part 3 is an “infinite space filling” generative sculpture.
1. A synthesizer with oscilloscopes and audio system
The synthesizer is based on Chua’s circuit, one of the first physical demonstrations of the existence of chaos. Its output signals are visualized through oscilloscopes and heard through loudspeakers. The synthesizer is controlled by motorized potentiometers, which changes the modulation parameters in real time in order to force it to enter and exit chaos in an infinite loop. Every time chaos is reached, fractal shapes known as ‘Lorentz attractors’ appear on the oscilloscopes.
2. A set of 3d animations and large prints
These large digital prints and 3d animations are generated by software simulating strange experiments in computational fluid dynamics.
3. A modular sculpture
The sculpture is composed of rhombic dodecahedrons, geometrical objects part of the family of «Space-filling polyhedra» : shapes which can be assembled to completely fill the space, to generate a tessellation of an infinite space. These forms act as the building blocks for a sculpture generator, with a high combinatorial potential for the assembly of any geometry.
These dodecahedra express complex reactive behaviours through their luminous edges.
The artist designed for the exhibition one specific geometrical configuration, a closed shape assembly exploiting at their best the formal and dramatic qualities of this sculpture generator.
By programming complex behaviours in the dodecahedra, i.e. controlling the light flowing in their edges from random to ordered patterns and contours, the perception of this geometrical shape is first blurred: from nothing to the chaos of its potentially infinite geometrical configurations, its perfect designed geometry slowly reveals itself through the interactions of the visitors with the sculpture.” – Félix Luque Sánchez
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