In the First deviation, ink would fall from a height of ten meters on a moving canvas, surrounded by the masses of Gothic architecture. The space at Area instead is different: six meters in length by three in height, it encompasses a half circle, epitomized and activated by Edouard Cabay through the pendulum, both a device and a figure. Cabay — architect, founder of Appareil, researcher and teacher at IAAC in Barcelona — describes his Second Deviation as “a completely automatic environment, influenced nonetheless by the action of physics”.
In a non-stop , two-minutes cycles follow one another, with a robot picking up the sphere of a pendulum, dipping it in colored ink, releasing it for a single hit on a canvas where a grid is gradually created, a dotted pattern of four by four centimeters.

Still, this grid is not regular. Everything is controlled: the movement, the  size of the sphere, the inks, the script on Arduino, the timing, the positioning in the room . The pendulum trajectory remains the only one to be exposed to vibrations from the building, air drafts, people in motion; in a word: too the reality of space.
Imperfection becomes an asset, for both the work and the process.
Second Deviation, curated by Emmanuelle Chiappone-Piriou, is part of the Machinic Protochols, the research by Cabay on the role of indeterminacy and accident in the creative process, and part at the same time of a similar investigation carried out at Area, through the DRAWBOT program, on the interaction of robotics, programming and drawing, giving value to error and marginal production as a field for creation and exploration. 

The performance explores, in Cabay’s words, the value of accident in architecture as in cinema, music, all the arts where an automation of action can be contrasted by some fringe of freedom, represented by the intervention of a quantum of nature. Thus the space at Area displays such duality by hosting the activity of the robot, programmed and recursive, within an environment getting more and more ink-stained, where everything controlled combines with the “filth” of colored matter.