A cycle of digital melodies, mirroring and self-replicating in three parallel video layers, The Book of Sand reveals different narrative perspectives depending on the viewer’s choices: an imaginary journey, with no beginning or end. At the centre of the visual apparatus, headsets worn by spectators create real-time sound mixing depending on which of the three screens the viewer chooses to focus on.

A cycle of digital melodies, mirroring and self-replicating in three parallel video layers, The Book of Sand reveals different narrative perspectives depending on the viewer’s choices: an imaginary journey, with no beginning or end. At the centre of the visual apparatus, headsets worn by spectators create real-time sound mixing depending on which of the three screens the viewer chooses to focus on.

Figure in Movement IV uses spaces where movement capture is a source of variations and modulations, of amplitude, tone, trajectory, etc. across both the installation's acoustic and visual elements. It highlights the impact of gestures in an experience which is part writing exercising and part entertaining experimentation, whether those gestures are produced directly by the audience or projected onto a translucent screen by the performer.

Prelude to the Sea by Thierry de Mey with the assistance of choreographer Anne Teresa de Keersmaeker is based directly on dance movements performed in a desolate, catastrophic landscape, the Aral Sea.

For Lifelines 4 by Xavier Garcia, the wall of lights is silent, waiting... visitors are invited to pass through it and play, via their gestures, with the sounds and images which the installation produces.

Made up of around thirty smartphones and selfie sticks, Smartland’s vibrations and configurations result from each provocation produced by the sound environment and/or by the presence of visitors. These events can interact with the behaviour of the lighting system, which alternates between dark and light... like a field of fireflies vibrating in the night.

The Zoé Benoit's objects, evocatively titled Skins, are made from mineral and organic materials, fossilised and formed: a series of concrete architectural reliefs bearing the marks of their wooden casings, a series of ceramics in plaster and coloured cement.

Like a book of colours unveiled over time, Exformation demonstrates the synergy between visuals, movement and sound. The installation was developed for a composition by Jesper Nordin, combining musical, lighting and colour-based scores. Three aluminium-edged cubes featuring LEDs move along their circular rails. The movements and modulations of the lighting are based on algorithmic programming derived from an analysis of the spectrum, tone and intensity of the music.

With Michel François’s Walking through a line of neon lights, the audience steps into the footsteps of the walker, and can feel the changing the state of the glass cracking and crashing down all around them in complete silence.

Relative Perception No. 2 by Chang Yung Ta is part of a series of installations addressing the theme of our sensory organs’ reactions to stimulation by sound. For this piece, Chang Yung Ta has built a device from six metal tubes incorporating an electric heating element and a system which slowly releases drips of liquid into each tube. The drip and release of each drop produces a sound due to the heat and evaporation, which also creating traces of limescale and rust on the tubes.