In a psychokinetic experiment Romeo Grünfelder has attempted to direct the motion of flying snowflakes towards a predefined target field. The moment of telepathic influence on the naturally chaotic, highly random, unpredictable system of the snowfall is captured in a large-scale C-print, which shows the individual ice crystals in the nanosecond before their contact with the soil of the target field. An experimental station documents the results of the test.

Even before the image is completely shown, it will already have been seen. For what is developing as a Polaroid is already visible before as a moving picture.

The 16mm-Loop is the third film of a ten-part series of short black and white films, which carries the title subversion d'images – a tribute to the Franco-Belgian Surrealist and Philosopher Paul Nougé.

Is, as Joseph Beuys claimed, every man an artist?

A fan acts as a generator of chance that brings the two bulbs of the floor lamps to flicker. The rhythm of the switching on and off of the lights is not foreseeable or predictable. And yet, every visitor to the exhibition can attempt to clock The Great Program in order to personally check Beuys’ dictum.

In a live experiment, a model railroad passes through a circular oval with a passing point, whose entrance switch is turned by a generator of chance. The chance generator takes on a well-defined probability of 50:50, both conditions being 0 and 1. Depending on its current value, the track switch is connected in one of the two positions. If the switch opens the internal track way, the locomotive passes through the course undisturbed. In the case of external route, however, it is controlled by a photoelectric barrier triggered by a pulse, where the train abruptly reverses, and travels back through the switch to be on the opposite side of the tracks running again in the forward direction. This reversing of the electric motor from full speed in the long term leads to massive damage to the locomotive.

Although taking the static laws as a basis an equal distribution of traversed distances must be expected, yet shows that the railroad seems to operate some kind of destruction avoidance. With a sufficiently large number of rounds, the locomotive clearly more often “selects” the incident-free, inner track way, rather than that of the more harmful, external route. This fact is illustrated in a curve representation projected on the wall.
The train seems to be correlated with the time of circulation periods of the chance generator. If, however, there is an attempt to achieve a regular influence, the phenomenon disappears. Can a random process be influenced by a system, even though it is not in direct causal connection to this system? And can the nonreplicability of the experiment be compared directly with the nonreplicability of artistic ideas?