This assemblage of moving objects, carrying fragmented reflections of a restless metropolis, forms an autonomous mechanical organism that operates beyond direct human intention. Surfaces bend and distort the urban image, multiplying it into partial, unstable views that suggest a city constantly in motion, never fully graspable as a whole. The work does not depict the city as a static environment, but as a self-sustaining system whose internal logic unfolds independently of those who inhabit it.

Within vast urban settlements, countless infrastructures—hidden networks of pipes, cables, and data, alongside visible flows of transportation and circulation—must function in a state of fragile coordination. These systems intersect, overlap, and occasionally conflict, creating a dense web of dependencies. Human presence, traditionally understood as central, is repositioned here as one actor among many, embedded within broader mechanical, architectural, and technological processes that shape everyday life.  

By foregrounding the movement and interaction of non-human elements, the work questions conventional ideas of agency and control. It asks whether the city is governed by its inhabitants, or whether humans themselves are governed by the systems they have constructed. The assemblage speaks as a posthuman relic: a structure that continues to operate, reflect, and transform long after its original intentions have dissolved. In this sense, the city-machine appears indifferent to purpose, functioning not as a tool, but as an organism driven by its own momentum—an echo of urban life that persists beyond authorship, mastery, or clear direction.

I was ispired by one of the first color movies N.Y.,N.Y.(1957) by Francis Thompson.

See the animation here.