Desirable futures
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Creating a sense of future through the experience of now.
Futurism inspires us in many forms, from architecture and industrial design to fictional stories that carry a sense of hope and adventure. This is a feeling we want to experience and understand intimately—not as a distant tomorrow, but in the present. We use a combination of media to construct worlds people can spend time in, establishing futuristic aesthetics in our physical reality.
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We believe our role as artists is to paint a picture of a desirable future.
Can we imagine a realistic technological future that moves away from catastrophe and dystopia? In fictional universes like Dune or Star Wars, we can observe worlds that are tactile and take a human-centered approach to technology. Our work imagines physical representations of these ideas, allowing people to meditate on them and immerse themselves in their promise.
The act of matter
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We explore unconventional embodiments of digital technology.
Physically realized objects carry a history of decision, intention, and time genuinely spent—a history that cannot be simulated. This history manifests continuity in objects. The act of creating, maintaining, and destroying becomes a conscious one, allowing us to empathize better with matter. For this reason, we embody systems of computation, as we believe granting them continuity is essential to our ability to rethink their place in everyday life.
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“There is probably no dead matter anywhere, only minimally active matter and lazy observers.” – Michael Levin (2025) [1]
In our practice, we explore various forms capable of behavior. Matter is activated and animated. With every variation in spatial pattern, we redesign the behavioral logic, aiming to bind geometry with a sense of purpose that we can observe. When done right, we believe observers begin to perceive the installation as a living thing. [2]
Ecosystems of technology
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At the core of our practice is a growing ecosystem of instruments for manipulating space and perception, each designed to evolve alongside the others.
Digital LED bars that suggest depth and animate virtual planes. Lights that generate clouds of light and shadow from a single suspended point. Actuators that create repeatable computational choreographies.
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An ecosystem that is controlled collectively, with methodically crafted software running at high refresh rates.
A combination of custom and carefully selected components constructs the instruments in this ecosystem, allowing us to further evolve and branch them toward specific goals. We believe in a process of design iteration in which you make yourself the most advanced user.
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We design for play (Latin: “Ludus”)
Our instruments are made to invite use and inspire form. We design them to be modular and durable, allowing the same parts to be used in contexts ranging from art and scenography to film and interiors. These adaptations inform each other, creating something that is not singular in purpose but context-dependent.
Lenses to gaze at fantastical worlds
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We often remind ourselves that at the center of it all is the human experience. We should be able to dream about fantastical worlds and devote ourselves to manifesting them. Not virtual realities, but actual ones.
The purpose of our minimalist and dynamic work is to construct spaces for suggestive experiences. Intimate experiences that are concrete in shape yet suggestive in representation create room for imagination to arise. They create a collective experience of “betweenness,” an objectification of subjectivity that we can point to and share.
“Art is life’s dream interpretation” – Otto Rank
On collaboration
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Underlying all of this is collaboration. As a growing studio with two founders, collaboration has played a central role from the beginning. Creating and collaborating are perhaps the most human things one can do, and thus we do both with patience and empathy.
We work with artists, architects, curators, labels, and brands. What we bring is a distinct aesthetic position and a set of instruments that we’ve developed over years of continuous experimentation. What we ask for is a real space and a real moment.
What we look for is a real space and a real moment.
References
[1]
Levin, M. “Living Things Are Not Machines (Also, They Totally Are).” Forms of Life, Forms of Mind, 2025.
[2]
McGilchrist, I. The Master and His Emissary: The Divided Brain and the Making of the Western World. New Haven and London: Yale University Press, 2009.
Sound credits
Enequist