A structure is generating tridimensional patterns superimposing 100 transparent laser cut acrylic panels. Each acrylic panels is engraved with vectorial graphics inspired by quantum physics. The panels are edge lit and individually controlled by a computer-based algorithm allowing to create random physical animations by turning each panels on/off while syncing them with short sound bursts. This metaphorically cinematic method allow to freeze and combine every single frames of the100 available, creating a multidimensional visualization method.

A laser beam is tracing a waveform on a wall by following the movement of a motorized rotating tuning fork. Usually associated with electronic and digital visualization, the waveform generated in frequencies (a / oscillation) is completely analogue: it shows the direct motion of the tuning fork by using the y axis (amplitude) activated by a solenoid combined by the x axis (time) generated by a step-motor. Thanks to the retinal stain, our perception will enable the visualization of the movement traced the laser. The installation is drawing from the experiments of 19th century physicist Jules Lissajous who first discovered this method for visualizing sound.

Between the finite and the infinite, these miror structures are reflecting the outside world until they are set in motion to unveil a moving and infinite interior. Hidden inside are superimposed diagrams reinterpreting certain theories or hypotheses related to our apprehension of the world. Between transcendental geometry, higher dimensions, finite and infinite, these structures arise as objects of reflection on what one understands, what one believes to understand and what one does not understand. The structure is thus refering to the finite physical structure that is encapsulating the infinity of intellectual structures created by the humankind. This first structure is based on the Feynman diagrams which represent the quantum fields.