Are you busy? I often hear myself and others say they have so much to do. Furthermore, An overwhelmingly packed schedule, to-do lists longer than toilet paper rolls and countless stimuli demanding our attention. In addition, Before we know it, we fill our days with an endless stream of activities. Furthermore, We go on automatic pilot. Keep living, keep moving, keep doing. Furthermore, Now it is this doing that interests me most. Recently, I heard of the term “human doing” as an alternative to “human being”. Furthermore, Have we become a slave to our own repetitive actions?
What is it?
Tower to heaven -or TRIBE TOWER is a moving artwork by The Dutch art studio Smack. Furthermore, It depicts a grey building which reminds us of a mall or an office building. In addition, Grey creatures walk through the building, either going up or down in the spiralling structure. Furthermore, They do not (want to) communicate with one another. In addition, All figures keep moving at a steady pace as the building keeps growing.
The makers: Ton Meijdam, Thom Snels and Béla Zsigmond, described the process within the tower as controlled but voluntary. Furthermore, The creatures keep moving. In addition, The tower of Babylon and the work of Michel Foucault inspired Smack.
Why is it cool?
It makes you think. The TRIBE tower, although not explicitly mentioned, reflects society. Furthermore, Us humans are the colourless and uncommunicative beings that are voluntarily in an endless loop of doing. In addition, But how did we end up like this? It is because of power and ignorance.
Most people believe that power comes from select sources. Furthermore, Foucault believes power is not something held by one or multiple humans. In addition, It can be attributed to many factors and is created when there is an imbalance, inequality or difference. Furthermore, Power or the act of overpowering often has a goal: to manipulate or control a process or outcome, positively or negatively. In addition, Power influences the beings to keep walking and grow the building.
Key Perspectives and Innovation
In modern times, as Foucault states, we are dealing with what he calls disciplinary power. Furthermore, This way of practising power is through controlling and optimising bodies to work for and not against the system. In addition, This power can be internalised, after which it does not need many stimuli from outside. Furthermore, Disciplinary power (re)creates new patterns and ways to lead an individual to do what the power wants. In addition, The creatures in the TRIBE tower move in a pattern together by choice. Furthermore, This means they must regulate themselves.
Key Perspectives and Innovation
I want to add to this that social pressure and rules exist to keep from chaos. Furthermore, Structure and control are supposed to make us happier as it prevents crime and big equality. In addition, If it does not make us happy, however, why not quit? Within essence, you are not obliged to do anything.
The only certain thing in life is death. Furthermore, When you think about it, nobody needs to do anything but we obey the system and its rules as we believe in them. In addition, Power and force are not tangible, it is something we create together. Furthermore, We can see this clearly within the tower to heaven. In addition, If the living beings would not believe in the upward spiralling building, they would not keep moving.
The artwork has a connection to the tower of Babel too. In Genesis 11:1–9 NRSVUE, a society that speaks the same language builds a tower towards the heavens. Furthermore, God is not happy with this and confuses the people by introducing different languages. In addition, It is a tale about arrogance according to some. Furthermore, Linked back to the TRIBE tower, it can be stated that our ignorance towards each other and our lack of insight into the loop we are in, makes us move endlessly. In addition, There is no questioning the present or talking to others about it.
Why does it have future growth potential?
The tower to heaven shows us that we should watch out for our ever-moving society in which we do not communicate or understand. Instead of walking in circles, we should stand still, if only briefly. Furthermore, Why are we doing this? What purpose or goal is there? Really hear and listen. Furthermore, The river of acts carries away most people. In addition, It roars and moves forward. Furthermore, Some want to resist, but it is hard to go against the way of water. In addition, It can drown you, so if you do not stop, keep your head up high.
32 comments
HOW COOL IS THIS “SEED”?
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DOES IT HAVE FUTURE GROWTH POTENTIAL?
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The artwork could give a cultural programme a distinctive subject for discussion. Its commercial value remains separate from its artistic proposition. I would assess the intended audience and presentation costs rather than assume a memorable visual critique establishes a broadly marketable hospitality application.
HOW COOL IS THIS “SEED”?
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Visitors may interpret the figures and structure through different experiences. Clear context should explain the work without prescribing one political or social conclusion. A welcoming presentation lets audiences explore its ambiguity rather than assume every viewer recognises the same account of collective life.
HOW COOL IS THIS “SEED”?
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The piece could contribute to a destination’s cultural programme when presented with thoughtful interpretation. Its value should remain specific to the encounter. Growth may come through discussion and influence rather than treating the animation as a transferable amenity for any property seeking cultural depth.
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A display needs reliable operation and clear responsibilities for content and support. Staff should know how to introduce the work without improvising philosophical claims. The artistic setting can remain open while ordinary guest movement and practical service continue comfortably around it.
Fenne, i really like to read your blogs! The language and grammatics are above average, SEO you picked up quickly and efficiently. Your blogs in the beginning and the blogs your write now, see a lot of progress and improvement! The topics you tend to write about are enlightening. Topics such as art wit a social concept give a unique angle, and make you think about things! You are a great addition to the Science team! Keep it up! Eager to read what you write next!
Thank you so much Rahim! I truly enjoy writing these blogs!
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The operating case depends on the presentation format and its actual role. Licensing, equipment and interpretation have costs. A compelling artwork can be worth showing without proving that a permanent hospitality installation creates enough commercial value to justify replication.
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The work can prompt questions about power and participation without establishing a complete explanation of society. I would preserve room for disagreement. A credible interpretation distinguishes the artist’s proposition and the author’s reading rather than treats either as a universal account of human behaviour.
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The repeated movement offers a starting point for conversation about routines and collective choices. Different contexts can enrich that discussion. The piece becomes more meaningful when visitors form their own questions rather than receive a single answer about why people continue within a system.
HOW COOL IS THIS “SEED”?
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The signal is a visual loop making familiar patterns of participation noticeable. Growth can include influence on discussion rather than literal expansion. The article’s philosophical interpretation should remain a reading of the work, not evidence that every person acts freely or can simply leave their obligations.
The metaphor should leave room for real differences in agency. That would make the discussion more grounded than assuming every person can step outside a routine simply by recognising it.
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A facilitator can welcome curiosity without asking visitors to disclose dissatisfaction with their lives or work. Quiet observation is a complete choice. The human encounter should not turn an artwork into a test of whether someone recognises the expected lesson about collective movement.
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The looping image may feel absorbing, oppressive or something else entirely. I would keep those responses open. A reflective installation should give the visitor freedom to look briefly or move away rather than require a moment of personal revelation.
A brief look can be a complete encounter. The facilitator should welcome different responses without asking the visitor to produce a personal revelation before moving on.
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Staff need a concise account of the work and clarity about the difference between description and interpretation. They should not have to defend one philosophical reading. Practical preparation can help hosts support discussion while leaving room for the audience’s own responses.
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The interpretation should recognise that collective routines mean different things in different places. Local perspectives could enrich the encounter. A grounded programme avoids treating a stylised tower as a complete picture of every community’s relationship to work, authority or social life.
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The artwork’s growing structure can invite environmental questions without establishing a resource solution. Its display also has material and energy demands. I would assess those separately from the critique rather than infer responsible operation merely because the piece encourages audiences to reconsider growth.
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The presentation should make the work’s title, creator and viewing format easy to understand. An open interpretation does not require practical ambiguity. Clear information gives visitors a route into the piece without making them decode ordinary display arrangements before considering the artwork.
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The piece can offer a distinctive cultural identity, but desirability should not rest on performing intellectual recognition. Visitors should be able to engage at different depths. A premium setting becomes less credible if the work is mainly a badge that guests are expected to admire correctly.
HOW COOL IS THIS “SEED”?
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A private hospitality space should allow control over exposure to a persistent animation. The guest may prefer quiet without a moving display. The artwork can remain a deliberate encounter rather than an ambient condition imposed because its critique is considered culturally valuable.
HOW COOL IS THIS “SEED”?
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Reflection on an artwork should not be framed as a wellbeing intervention. The image cannot assess an individual’s relationship to stress or obligation. Visitors can find it meaningful without being told that noticing a loop improves their mental state or supplies a personal solution.
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The animation raises useful questions about how repeated systems shape attention. Its display interface should preserve the visitor’s choice to engage. Technology can support the artistic inquiry without presenting one designed loop as a verified model of all social or digital behaviour.
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A dining setting could discuss the work through a separate cultural programme if the context is suitable. It should not overwhelm ordinary food and conversation. The artwork’s social themes do not need to make every guest meal part of a prescribed critique.
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The visual system depends on rhythm, scale and repeated behaviour. Those design decisions deserve close attention. The piece becomes more convincing when its constructed nature remains visible rather than when the interpretation asks viewers to accept the image as a complete representation of real life.
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Interpretation should offer different routes into the artwork and avoid assuming a shared social experience. Visitors may have obligations and choices unlike those described by the author. A considerate programme leaves room for those differences rather than frames one reaction as evidence of greater awareness.
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The work should not become a basis for personal health or behavioural judgments. Hosts can explain the artistic proposition without assessing a visitor’s life. Keeping that boundary clear would make the encounter more respectful than using a visual metaphor to prescribe how someone should change.
HOW COOL IS THIS “SEED”?
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A restrained display could give the loop room to be encountered without competing visual demands. I would preserve a clear exit from attention. Quiet presentation supports reflection when it lets the visitor decide how long the animation belongs in their experience.
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The campaign should distinguish the artwork from the author’s broader interpretation. Avoid promises of revelation or social change. A precise account can communicate its critical character while leaving audiences free to question what the figures and growing structure mean.
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The image usefully questions continual movement and growth, but its interpretation should not erase real constraints on people’s choices. I would keep that tension visible. The work gains depth when it invites critique of systems without declaring withdrawal equally simple or available to everyone.
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Craft appears in the animation’s timing, details and coherent visual form. Those qualities deserve assessment alongside its intellectual framing. A carefully made work can reward attention without asking philosophical references alone to establish the importance of every design decision.
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Placement should support deliberate viewing without obstructing ordinary movement or quiet use. Scale and sightlines shape the interpretation too. Spatial care lets the work remain a clear encounter rather than an unavoidable background image that visitors must absorb throughout a stay.
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The emotional value can emerge through a visitor choosing to pause and reconsider a familiar pattern. The meaning remains personal. Clear context and respectful facilitation would support the encounter without guaranteeing insight or treating every audience member as an example of the tower’s imagined society.
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