The thinking Machine

Perspective and Context

The Thinking Machine fits into the world of light and kinetic art by using motion and light to explore how we experience creative thought. The rotating, glowing frames are meant to represent how ideas form in the background of our minds—slowly, unpredictably, and often without clear structure. This connects to the idea that perception is not just about what we see, but how we sense and interpret the world around us. The project also reflects on how creativity is often invisible but always active. By making movement and light the main elements, the piece gives shape to something that usually stays hidden. It asks viewers to think about their own inner processes and to notice how thought and imagination are always shifting, even in stillness. Through this, the work encourages a deeper awareness of perception and how we experience mental and emotional movement.

Development and Technical Implementation

The development of The Thinking Machine began with building the mechanisms needed to rotate three separate frames. Early on, I encountered a number of challenges, especially with figuring out how to support and balance the frames while allowing them to spin smoothly. Through trial and error, I learned a lot about how to DIY parts I couldn’t buy and what’s important when working with DC motors—like stability, alignment, and support. I 3D-printed custom frames, which helped shape the overall structure of the project, but the largest frame was especially problematic, often breaking due to its size and weight. To address this, I added extra supports and carefully adjusted the frame structure so that each one could spin without falling over.

In the final setup, each frame is driven by a DC motor connected to a belt, which turns a secondary wheel attached to a vertical pole. The frames are pinned to these poles and supported from above using fishing line, which helps stabilize them without restricting movement. The motors run at different speeds, causing the frames to spin in varying directions and rhythms, while lights fade in and out in sync with the motion. These variations are meant to represent the layered, unpredictable nature of thought. The project is viewable from both the side and the front, allowing the audience to observe the interaction between motion and light as a unified experience.

Presentation

The presentation of The Thinking Machine during class and the IMA show went fairly well overall, though there were some technical issues. The mechanism functioned, but not exactly as it had in earlier tests. The lighting and composition didn’t come together as smoothly as I had hoped, which slightly affected the atmosphere I was aiming for. Still, the core idea of the piece was communicated, and I was able to fix the technical problems after the presentation, which was a relief.

The audience responded positively and seemed to enjoy the project, even if the full effect wasn’t completely realized during the show. While their reactions weren’t exactly what I expected, it was interesting to see how people interpreted the movement and light in their own ways. In the end, I was satisfied that the main concept came through, and the experience gave me a clearer idea of what to refine in future versions—especially in terms of improving the overall composition and ensuring the technical setup runs smoothly. 

Conclusion

Creating The Thinking Machine was a process of turning a personal concept into a working installation, which came with both creative and technical challenges. I started with the idea of representing thought through motion and light, and had to figure out how to make that idea physically real. One of the biggest challenges was syncing the technical elements, especially getting the motors and lights to behave the way I imagined. While I struggled with wiring and timing at first, I eventually created a system that felt responsive and alive. I succeeded in capturing the mood and atmosphere I envisioned, but I think the interaction between the frames could be more refined and expressive. In the future, I’d like to explore ways to make the piece more interactive, possibly responding to sound or presence. Overall, the project pushed me to think deeply about perception and process, and how to make the invisible visible in a poetic, yet tangible way.