Daniel Armengol Altayó About

I am a strange loop, 2017

A mirror mirroring a mirror. A selfie as a projection of the self. Artificial intelligence proficient at recognizing its surroundings, capable of learning and even dreaming. Psychedelia.

The result is an aesthetic reflection, executed with hardware and software with the default factory settings, which correctly aligned have the power to hypnotize us with a visual effect, strangely organic.

An interface, deeply immersed on observing its own self, posing and taking selfies, folding endlessly in a vain exercise of technological introspection. An exercise that we can interrupt at any moment by standing in between of the devices, and so fall into an altered state of shared consciousness.


Sleep disorder, 2016

Both smartphones watched by a small robot. The first one has the alarm set. When it sounds, a mechanism touches the screen to snooze it. The second has the screen on, and each time the brightness goes down (anticipating the locking of the device), a mechanism touches the screen to prevent it from entering into sleep mode.

Machines becoming more and more human and increasingly mechanical individuals. Two gestures repeated non-stop, in a monotonous and predictable dance.

Who awakens whom? Who represses the sleep of whom?

Habits and automata. Roles mixed up.


#artificialselfie, 2016

A selfie is a paradigmatic way to prove to the contemporary world that one exists. The machine expresses this need by taking selfies of itself and sharing them on Instagram.

The piece, performing tireless the same action over and over again, questions our relationship with technology. On one hand, we teach machines to understand us, giving them the ability to replicate gestures and habits in a surprisingly human way. On the other hand, as we all seem to repeat the same behaviors with a given technology, we ourselves start acting as predictable machines.


Blanc, 2014

Booklets and markers to capture feedback during the day. Cameras and flashlights to create light sculptures during the night.

Our aim was to explore, during a design-related event, people’s personal touch, focusing on the singularity of each person handwriting and drawing skills.

Simon, 2013

Based on the electronic board game with the same name, the piece takes its gameplay and proposes a new approach for the interface.

Changing the way to interact with the game, the installation engages people to run, sweat and collaborate, as they create during the process, an immersive light experience for all visitors.

Gif me, 2010

Gifs produced in real time using the stop motion technique, bringing out the inner creativity of people in unexpected contexts. The visuals are created by the audience with the assistance of a photographer, who performs as the interface for the installation.

The project evolved to become a service for events. Find out more at gifme.cc.

Mov me, 2010

We are used to stay still in front of cameras just before actually take a picture. This interactive installation takes advantage of that relationship to communicate seamlessly with participants, who are able to create short stop motion clips of themselves. Mov me invites people to inspire, remix and create new and exciting pieces.

Human interface, 2009

Conceptual exploration on digital interfaces. Three representations of computation actions (loading, mailing and updating) played out by a human as an starting point on questions like how do we relate with technology and how technology adapts to human beings.

Invaders, 2008

The installation emulates the classical video game Space Invaders, and it uses foam balls as a physical interface to interact with the game and kill the invaders. As a result, a collaborative installation that makes people act and think beyond the screen.