 the objects that we have built. I will show a few images later. But going back to this image, and also looking at, I'm not looking at the comments, but there were a couple of comments, and these comments were quite interesting, so I don't wanna get into these comments. But if someone wants to discuss them with me, I think please come and talk to me later. But I think one comment, and thanks to Sayani, I think that I would like to take out of this discussion. I didn't participate in it, was to kind of celebrate diversity. And I think that that's kind of something that I really would like to push. I'm trying to push that here in La Salle. It works sometimes, sometimes it doesn't. But to work with people from different disciplines. I think that can be quite refreshing. It can be very frustrating. But I think it's just a different, you just get different points of views, how people from different disciplines work, look at things and kind of interpret them. Okay, so that's the starting point for my talk now. And I would like to go back like two years, 2014, when basically whatever is in this little box here, that's the thing, that's the thing. It didn't burn the house down, it's still working. And it started 2014 when we were asked to do a light installation for an opening at our second campus, Winstead, which is down at Newton. And we were asked to, we, that's our students and colleagues of mine, to do a light installation because we have a big green patch there. And for the opening, we proposed light installation to be set up there. So it all started with these little cubes, small-scale model, Naderino, a TSE LED driver and some LED modules. And this is kind of what came out of it then after like two or three months of work. An installation work made out of Maranti wood boxes, one by one by one boxes. There are 81 of those. They're all custom-built, hand-built, by DIA and the students. And then they are equipped with these LED tubes that you buy in Simlin, a very nice lady at level two. E-Scan. In this little box here in the center. So that was the control unit of it. What is inside? Well, there's an Naderino inside. For us, I think it's just the easiest way to work and prototype and develop these projects. A TSE 16 channel LED driver, some MOSFETs, a lot of wires, and then these LEDs. During the opening, I think a lot of people kind of misunderstood the idea of the work, so they came up and of course you said to take a lot of selfies and climb these boxes, which was a little bit scary to us, but it worked. And I think that's also a very inspiring moment when the audience kind of takes over your work. So it's not like, okay, there's a painting on the wall, don't touch it. But when the audience kind of approaches your work and kind of interprets the purpose of it, it makes it a little space. Sorry? What have you intended? It was a light installation, the lights, they oscillate in different phases, in different modes. And there's a, I don't have a video of it, unfortunately, but I have videos later. Sometimes it kind of pulses, so it's kind of in resting mode. Sometimes it starts to flicker. And it just wants to be there and participate and entertain people. Of course it also had to be in big because the whole patch is so big. So a lot of work in the end went into building these boxes. We also have massive rain and it kind of sustained that rain. So we can make it waterproof. And eventually I thought it was a good experience. Yes, definitely was a good outcome. I would have made some things differently. Those are mostly aesthetical decisions that I would refine. But in the end, it worked out really well. The collaboration worked out really well. Students learned something and everyone was happy at the end of the event. So moving on from there, there's the circuit. The circuit wasn't packed into a box and then kind of stored in a shelf. I invited other people to come and collaborate with me. In this case, it was Bunny Haikar, who's a local musician, multimedia artist. So he does a lot of things for it to do art science lady vent at the Art Science Museum. And again, I brought this little box here down here. We set up this whole installation or this began a duration installation performance. We set it up for the... Well, we came into the room all empty. We set up all the boxes within these three hours. We did our performance. We packed everything and after three hours, the room was empty again. Modularity and I think for me, a very important element of my work because I don't permanently install my work. I bring my work to different places. You will see more spaces and places later. So modularity, packing things, putting them together very quickly is kind of very important to me. Moving on to the next project. So I'm doing a lot of projects here. A research project with a colleague of mine, Brian O'Reilly, he's a musician and I was talking to Sayang earlier. So we proposed this research project which is about interconnecting musical and artistic interfaces. MIDI software that use OC, software that uses WebSocket and Arduino's, of course, using serial communication to bring them all together and talk to each other. So we developed or we developed a prototype for a networking solution that allows us to do that and suitcase again pops up over there, try off his super-collider patch that would drive the LED boxes here on the screen. So super-collider generating some tones, standing it over, I think in this case, this machine, serial communication to our suitcase and then lighting up the lights. Come in. Cheers for takeout last. Yeah, there's still a lot of empty seats. Just leave it open. Otherwise people will not put something up. And then another version. So from the light installation out, this object kind of also starts to speak in this case. This tone generator language. It's more aggressive. And this then resulted amongst other objects and other interfaces, other musical instruments, again, in a performance piece that we showed here in the performance space downstairs. So work I think is always very hands-on. It always needs to work. So if it doesn't work, the audience will be very upset. We will be upset as well. So I think making things work is really important to us. So it can't fail. And maybe just run through that installation. So there's a lot of software pieces, screen-based works, analog synthesizers, again, the lights and the box. And so on. So again, we develop everything here from scratch, all in-house productions. Of course, we make a lot of use of open-source software, open-source hardware. So moving on, so now the lights can make light. They can speak, make sound. The next step for us then was to integrate them into performances in this case. A theater play, improvised theater play with acting students here from La Salle, where the props kind of became the architecture of the space. The next project, the following year, the lights then were used in collaboration with dancers, dance students, who again have a completely different view of what this is. How to interact with it, how to work with it. What does it mean when the light is blinking very fast? What does it mean when it pulses? How do I respond to it? So how do I interact with this thing? Just a few images. The next project I brought into the gallery downstairs, so the idea of that exhibition was to set up that structure, again with these light fixtures within timeframe of two weeks, invite students to come up with that particular structure, work with me, introduce them to the electronics parts. Again, it was for kind of this playful activity of getting students involved and then bringing technology into an artistic environment. That was earlier this year, 2016, in the gallery downstairs. And then just recently, the exhibition, the duration of performance at the National Museum. I don't have the footage yet, so I think the only thing I have is here, the tower, which was equipped with these light fixtures. That's the resting mold of the tower, while we were not there and performing, we just like resting, we can't blink a little bit to catch attraction. Yeah, most of the lights are basically based on this little thing, which you see in the seatcase. I mean, it doesn't look very pretty to an engineer, I guess, but I think this is how we work best. That's what we... That's the easiest method for us to make things work. We tried perfboards and so on, soldering everything. There's a little mistake in there. We are screwed, had to do it everything from scratch, so that's something we don't really like because we're always working at the edge of time. But nevertheless, now having an engineer come in here and finding this really, oh my goodness, you can't do this. I think that's great, but even greater would be then to take up the challenge and come up here and say, look, I'm gonna build you a PCB board, all right? And I make that better for you to be part of that process, to be part of what I just said in the beginning, to work across disciplines, to get a little picture of what we do, to get a little picture of what you guys do. And really, if someone is up for making this work as a PCB design board, please contact me and come up to me. But having shown all these images, two years, endless, not endless, but maybe eight, 10 performances, this thing has worked quite well. We haven't burned down anything. So it works, it works for us. It does what it's supposed to do and that's important. And yeah, that actually is more important to us. I think for an engineer again, and I think that the question I was very surprised didn't pop up in that discussion. What does this box actually do? And none of this box, what does it do, right? There was no question, what does it do? There was only comments about what it is. And that's for me very surprising because for me, it's always like, what do things do? Yeah, it's not going into the detail, but yeah, what do you make out of it? And maybe there's also something through collaboration that could be explored, I guess is the right word. And I think that's why I would like to build some bridges between the arts and the engineering community. And I'm always up for that, to have people come in. In the beginning, I think it will not be easy, right? Conflicts or people don't like what you're saying or what you're doing and how you're doing things. But I think over time, and I have experienced that in other projects, for example, with dance, things kind of normalize and kind of go into new directions. And that's where things become quite interesting and exciting. It takes time, but I'm very open to have discussions of working with engineers and bringing them in, or I'm going out and kind of joining you on whatever journey there is. That's about it. And it's 16 minutes, all right. Yeah, that's about it, what I wanted to talk about and tell you guys. Questions, I don't know. Is the questions now or questions later? Usually, we don't have questions. Now, everyone is speechless. But I guess for the host. No, no, it's fine, but... Maybe one question for Andreas, just one. Yes, please. Was there the only circuitry there is? No, there's a lot more. Because I'm wondering how it's functioning in the 3-day days. You see, it's not only are you using like 4 or 4 P2s. Man, I can make this work later. I can make it work now. Oh, I know. We have 5 minutes for this, huh? There will be. There will be time. I have to go near the top of the table. Okay, I'm setting this. How many minutes to learn the work? You only need to level 6, okay? I'm going to do the right part. I'll show you the face, the arms, the little parts are right in the master class. Tommy. I'm going to answer this last question. I'm going to answer the rest of the questions. Thank you. Oh, just a moment. All right, so while Andreas is setting up, anybody has any complimentary competitions to announce? Like, there's a hardware hackathon happening, or any hardware competitions happening? All right, so anybody who wants to hire a hardware or electrical engineer, electronics engineers, artists, nobody wants to hire. Okay, anybody is looking for a job? I'm looking for a post-sign. Okay, what are you looking for? Post-sign engineer. You want a job? No, I'm looking for a job. Oh, he is looking for a post-sign engineer. It's software engineering. Just tell you what we're looking for. Just tell you what we're looking for, right? Yes, which one? Right. I'm also looking for a white light. Okay, sure. If there are web developers here, talk to me. Hi, you want to look for a job, or are you hiring? I'm looking for a job. Okay, what's your skills at FPG there? Post-signal. Post-signal is programming. So if you are looking for brilliant people to talk to me, help. I mean, it's blinking, so I'm going to check it out. What's going to work? It's the start of DemoWorks. Yeah. Sorry? Actually, I'm saving. Sorry? It's the other one, it's DemoWorks. It does, right? I need to work without a PCD with breadboards. It's fine. But again, I need... It would be great to have a PCD with breadboards. Yes, no breadboard changing. I love breadboards. Really, I do. That's my material. But the right place. So how many of these LED's can you put? To this one, 16. So they run off, it's the one-on-pair LED strips. And it's 12-wide. 12-wide. OK. Great. Thank you. Thank you. Thank you. Thank you. Yeah, so hopefully we got a different...