Spatial Sounds (100dB at 100km/h) is an interactive audio installation by Marnix de Nijs and Edwin van der Heide. In this engine-powered installation, a speaker is mounted onto a rotating arm that is several meters long. Like a watchdog, the machine scans the surrounding space for visitors. Closer investigation would be tempting fate, with the rotating arm swinging so powerfully round. You hear the impressive sound of the mighty motor revving up, turning faster and faster. You can feel the displacement of air as the speaker whizzes past you, and you had better step back, out of reach. The machine slows down and, when the shock wears off, you start exploring the space, with your movements manipulating the sound it produces. Just don't get too close! Spatial Sounds (100dB at 100km/h) builds up a physically tangible relationship with the visitor, since it is the game of attracting and repelling between machine and visitor that determines its sound and movement.

Nothing exists in White Square if nobody is present. When somebody steps in the square of light, shadows appear circling around him. People find themselves in the middle of a living shadowland, where interactive shadows projected around their feet make contact with other shadows in the square. People can play together with collaborative visual structures created by shadows reaching and grabbing onto each other. The shadow world creates a reflecting surface of positions and movements done by people in the square.

A stream of liquid sand flows from above and reacts with your shadow as if it were solid. Its hypnotic motion conjures childhood feelings of playing with water or building wet sandcastles. Like making shadow puppets, you can easily construct concave structures with your hands to catch the sand and then you can pour it from hand to hand or maybe into your friend's mouth. Play with it long enough and you might discover some of its many secrets.

Eric Singer (design, fabrication, electronics), Kevin Larke (software, design), David Bianciardi (design, CAD, fabrication)

"In designing GuitarBot, our goal was to create an electrified slide guitar that was versatile, responsive, capable of fast and slow playing, easy to control, with high-quality sound, modular and portable. We also wanted to extend, not simply duplicate, the capabilities of a human guitarist."

"Shad Redmon (design, fabrication), Kate Chapman (design), Eric Singer (electronics), Kevin Larke (software)

The intended goal with TibetBot was to create a robotically controlled percussive musical instrument that could create both atonal rhythms as well as tonal droning soundscapes. The instrument is based on the tones produced by three Tibetan singing bowls struck by six robotic arms, two per bowl.

Jeff Feddersen (design, fabrication, software), Milena Iossifova (design, fabrication, software)

ForestBot is the newest LEMUR robot and is the evolutionary offspring of !rBot. It displays a forest of twenty-five egg rattles sprouting from ten-foot rods that quiver and sway over onlookers.