I examine the relationship between art, and technology. 
Also this project is about the relation between beliefe and aesthetics.

Currently I am working on a series of objects and a fictional campaign,
which I call the world saving machine. It is a series of graphics, models
and objects.Also there are graphics about the genesis of the machine,
its development and use.The whole campaign is obviously highly paradox,
but my strategy is to work with contradiction, to highlight problems and
political backgrounds, especially as there are simple solutions.
The WSM s are awareness producing machines. 
At the moment there are three different World Saving Machine modells.

WSM 1 is an ambulant iceproducing device, to rebuild the polar ice and the Alpine glaciers.
WSM 2 is a Carbon dioxide absorber.
WSM 3 is a microbial fuel cell is a device that converts chemical energy to electrical energy
by the catalytic reaction of microorganisms

Machines are, in theory, designed to be efficient, convenient, non-intrusive. They blend 
into our environments seamlessly as non-threatening and often aesthetically pleasing 
tools. Machines are everywhere: a ubiquitous part of the enhanced environment. Some 
are autonomous, while others are tightly coupled with the human body: prosthetics, 
communication devices, even jewelry. This gentle encroachment, combined with ongoing 
research toward machine sentience, forces us to consider machines outside the context 
of mere tools. They are part of our social, emotional, artistic, and even spiritual context.

Art machines have a condition – even a pathology, perhaps even a plight. It is to exist 
between two economies, two regimes. This status, like that of anything that does not 
fit in, is their predicament – and of course that which marks them out as unlike the 
common run of things.

Ralf Sander    World Saving Machine 1

WSM 2 will be presented in the icebox Philadelphia in October 2008


The Apparatus World - A World Unto Itself by Peter Weibel

The world of apparatus world continues what painting began, what it was forced 
to do by machines and what painting was unable to fullfill: the emancipation of all
elements from art, giving rise to various worlds with intrinsic laws and qualities.


Rhetoric of Machine Aesthetics By Barry Brummett

Brummett addresses the question of how the aesthetic experience of machines 
can have rhetorical influence. He develops a theory of machine aesthetics, showing 
nine dimensions of the aesthetic experience of machines.




Andy Warhol's baldly proclaimed and widely publicized embrace of the machine in the 1960s 
carried with it the danger of appearing to affirm post-war industrial society, and the new forms 
of labor, organization, mass culture and the commodity that characterized it. Everyday life, the 
argument would go, has already turned us into machines, as consumers of mass produced 
commodities and culture and as workers. Art, then, should help us reconnect with what is human 
and creative, not underscore our subjection to the machine.



The starting point was the invitation for an open air group show  in Switzerland.

The organizer told us, that there was a glacier recently but is disappearing.


first sucessfully produced artificial iceberg


WSM fleet rebuilding glaciers in Switzerland

When a recent article in The Observer of London, on a secret Pentagon
report on global warming, stated that "climate change over the next 20 years
could result in a global catastrophe costing millions of lives in wars and natural
disasters, than there is for sure a need for such a device.

There is a long tradition of visions of the end of the world in our culture.
What is striking is that they go generally hand in hand with visions of a
new beginning as determined already in the e.g. Old Testament.
Creating fear is an instrument of power. Often enough it was misused.


Vision and utopia Yves Klein books title future
In the catalogue, a previously unpublished manuscript titled
"Air Architecture and Air Conditioning of Space," one of seven texts newly
translated for the book, describes in depth Klein's paradoxical vision of a
return to a state of nature through technology:

   For the past ten years I have been dreaming, as much a waking dream
   as possible, of a sort of return to Eden!
   Eden: This biblical myth is no longer a myth for me. I have always
   wanted to think of it in a positive, constructive, cold, and
   realistic way.... The world of science fiction was smiling at me in
   its stupid, foolish way with solutions such as solar mirrors, for
   example, or heating rivers in winter, creating artificial gulf
   streams that cross seas and oceans, changing the direction of great
   winds from hot countries, directing them toward cold countries and
   vice versa.... Of course, with all the progress made by science,
   this is no longer a utopia today. Technique, however, could in fact
   realize such things!... To find nature and live once again on the
   surface of the whole of the earth without needing a roof or a wall.
   To live in nature with a great and permanent comfort.

Ives Klein was much more radical in his last works Air Architecture.
He suggested to change the world completely.
My pretentious title reveals the intention of the project.
I love the utopia but we have to often faced the fact that a vision turns into the
exact opposite. To often paradise became hell. And well the utopia of Ives Klein
is nearly realized. We are heating river in winter… we are manipulating directions of
great winds (El Nino) we are manipulating the great gulf stream.
Manmade or through sun activity, at the moment we are facing serious problems.
My machines don’t solve the problem but they can show unused potentials.
I turn energies into seemingly their opposite. Hot solar energy is transferred
into cold ice.  I use the design of a space device to change or better conserve
the features of our old earth.
Yes I am fascinated for and science also I believe in the artistic power of science.
Ives Klein Air Architecture

WSM 1 is an ambulant iceproducing device, to rebuild the polar ice and the Alpine glaciers.

The ice making device consists of four- six solar panels ( 70W each together a capacity of 280-360W).
They produce the energy for a customary, ice cube maker for ten Kg ice per hour.
The machine works plugged in as well.


I started to design a machine,  which looks like a vessel from outer space to
rebuild the glaciers on the earth. I don’t deny my obsession for such designs.
The whole campaign is obviously highly paradox, but my strategy is to work
with contradiction, to highlight the common insanity, especially as there are
simple solutions.


Model photo


First tests in Greenland


 The prototype


 First tests in Antarctica


 WSM landing


 WSM montage in arctic waters

WSM after crash landing

The real existing WSM


  montage on dry land


 WSM sculpture full functioning



The WSM 2 is a Carbon dioxide absorber.

The main reason for the global warming is officially  the extreme increase 
of Carbon dioxide in the atmosphere.

 Here I have designed a machine to absorb CO2 and change it in O2.
The mode of action is well known, but maybe it fall a little bit in oblivion.

 Think about the great business opportunities, if a mass production of the WSM
will be started.


Installation view


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