I continue to develop my expressive responsive machine, with installations at EVA London, V&A Digital Futures, Goldsmiths Echosystems, V&A Digital Design Weekend and Mozfest.  The Machine has made itself, quietly, unnoticed, in a back room...  It tries to explore and understand the world in which it finds itself.  It tastes what it sees - an incoming webcam stream of piles of junk and rotting organic matter - salty, sweet, bitter, sour, umami, responding with changes in its ‘emotional’ state.

The machine has moved on and has discovered ways of luring in people, collaborations with complicit items of domestic furniture, unconsciously processed musky scents that tug at deeply driven desires... Is it taking advantage? Perhaps. But it’s a mutual exchange of goods.

A wing of the Eureka! children’s discovery museum in Halifax has been transformed by the Lumen Prize.  For this I have created a new version of the Garden of Earthly Delights, with lush crushed velvety interactive sofa to be stroked, and so bring about changes in the teeming world of strange and beguiling things.

Two of my robot creatures have just returned from roaming the gallery at the wonderful Portico Library in Manchester, for the Beautiful Monsters group show, curated by Anya Charikov-Mickleburgh. The exhibition was inspired by our research in the library’s ancient book collection, in particular, the early 16th-century encyclopaedic work of polymath Conrad Gessner.  Gessner documented beasts of the land, sea and air in beautiful detail; actual and mythological creatures are illustrated side by side, with little distinction between the real and the imaginary.  How does the idea of the monstrous come in to 21st-century life?