Recent Projects


The weekend March, 15-16th 2014 the Society for Speculative Rocketry held their inaugural meeting at Eyebeam, Chelsea, New York City.

In a day long workshop 15 society members explored the relationship between past and future realities of space travel and how they live within the public imaginary. Eyebeam was transformed into a Situation Room with window projections overlooking the Pacific Ocean, simulating the view from the RAND Corporations headquarter in Santa Monica, California.

In a guided speculation session building on the practice of The Extrapolation Factory where participants worked from materials such as Rockwell’s 100-year-plan to eventually create their own scale models of space ships or other related artifacts, real or fictional. At the end of the day each participant had at least one piece of ‘payload’ that will go into a functional model rocket. At the end of the day the developed payloads were reviewed in a video call with Karen Lau from SpaceX and Morgan Hendry, Engineer at NASA, JPL.

Day 2 fell on the 88th anniversary of Robert H. Goddard’s launch of the world’s first liquid-fueled rocket at his aunt Effie’s farm in Auburn, Massachusetts. To mark this momentous event, the Society embarked on a day-trip in order to launch the rockets and their payload from the very spot from which humanity had first tested the possibility of eventually escaping the gravitational pull of planet Earth.


Elsewheres is a modular, site-specific and procedural installation in which computer simulation becomes a medium.

From early computer simulations performed as part of the Manhattan Project to the significance of climate modeling for political processes we are basing our decisions on numerical models. The combination of the postulated wisdom of data and human agency has formed a bridge between the world and us, or so we believe.

At the beginning of the procedure, the exhibition space is recreated as a three-dimensional model, based on architectural drawings. The representation becomes a virtual stage, a laboratory, populated by copies of all objects that are present in the real space, weighed and measured to obtain their relevant properties. They are then made to interact with the space itself as well as with each other. Objects move, touch, break or fly off, caught by a gust of simulated wind or the force of gravity — as observed on Earth or reflecting other places, other possible realities altogether.

Crucially, once a simulation has finished, resulting changes to the virtual space are manually introduced into its physical counterpart, objects carefully placed into their new positions. People thus become agents of the simulation, affecting the outside world in order to make it resemble the speculation of a machine.


At the heart of the history of the computer there has always been the dream that one day it would be able to mathematically simulate the physical world well enough to generate graphics which to our eyes would be indistinguishable from the real world.

As technological capabilities have been edging towards this absolute realism, there are visual artists working at the fringe of what is currently possible, creating short films for lively community on social media platforms, often accompanied by tutorials on how the simulations were achieved.

While these works originate from a place in between the conventional artistic and academic worlds and could be regarded as mere technical demos they often have a unique aesthetic – a sublime that emerges from the hyper-accurate rendering of scenes that are in fact surreal and dreamlike.

After developing an interest in this community while working with computer simulation and modelling in their own respective artistic practices, Andreas N. Fischer, Sascha Pohflepp and Chris Woebken conceived the exhibition presented here. The five selected artists were provided with video footage taken at Building 15 which constituted the basis of the elaborate simulations they each have created.

Island Physics is therefore an exploration of the aesthetics of computer simulation as well as a survey of a community. Most of all, it is the attempt to turn a former living room into a testing-ground for alternate realities and impossible happenings.

Kai Kostack:

Mohamad (Moby Motion) Zeina:

Andreas Nicholas (ANF6000) Fischer:

Gottfried (BlenderDiplom) Hofmann:

Tayfun (blazraidr) Ozdemir:



Edged Into a Void: Sensoria is inspired by the seminal text Incidents in the Life of a Slave Girl in which Harriet Jacobs, writing pseudonymously as Linda Brent, describes living in her grandmother’s garret before escaping to New York. For seven years Jacobs hid in the negative space of a pent roof to escape her slaver. She designated the nine feet long, seven feet wide and three feet high empty architectural site a place to transition into freedom. The garret was small and admitted very little light impacting Jacobs’ physiological state. This sculpture is a spatial inference represented by three objects. It is a set of geometric shapes tracing, deconstructing, and inverting what we know of the garret. 


Exertions is a series of written choreographies that, when performed and documented, extend the terrain of late nineteenth century movement studies into more ambiguous, strenuous, emotional, and contemporary ground.


For whom and for what actions are built environments designed? Untitled Attitudes is an open-source library created for the Google SketchUp Warehouse proposing to integrate real people doing real things into the design process. Referring to both senses of the word, this diverse series of bodies in attitude is a visible spectrum often unrepresented in spatial design. These figures challenge the values and beliefs—the attitudes—that predominate the field.

Over the next 6 months, young architects will be invited to design an environment specifically for members of this library.


The Remembrancer, a newspaper named for the City of London's representative to the UK government, documents 46 corporations listed on the London Stock Exchange, which are known to the database of A Quiet Disposition, and are, by association, implicated by the data it has gathered.
The Remembrancer was commissioned by the Open Data Institute and the Victoria & Albert Museum.


A Quiet Disposition is an online intelligence-gathering system which trawls the web for information about unmanned aerial vehicles (UAVs or 'drones'), and analyses what it finds to produce new connections. The full database is available at, and as of December 2014 it contained some 28k people, 35k documents, and 83k semantic terms connected with drone programmes. 
A Quiet Disposition was created in part during a residency at Eyebeam in collaboration with The White Building in London.


This field guide to network infrastructure in New York City shows you how to identify the cables, cameras, sensors, and networks of fiber and power that increasingly shape the urban environment. 


Resonant Hyper-Symbol Modulator Scapes is the virtual world that parallels MSHR's recent installation series Resonant Hyper-Symbol Modulator. The audio in this piece reflects the generative light-audio feedback systems used in RHSM and in MSHR's recent live performance series Resonant Entity Modulator.