In the film, Zhestkov boldly envisions these decentralized machines as lush dynamic systems, which he compellingly describes as “floating networks of small transistors—some kind of a strange computing organism.”

The complex systems at the heart of Computations sway and undulate in perfect synchronization. Comprised of billions of particles, they are more than the sum of their parts—they are thinking machines that visualize, calculate, and communicate through coordinated movement and coloured illumination.

Evoking both supercomputers and synaptic structures, the shapeshifting forms are serene and enigmatic. Performing in space, they demonstrate how each tiny element contributes to the construction of an elegant, emergent whole. Particles rise and fall, clusters lock into place, and there is an underlying sense of order governing the ornate spatial choreography.

The forms are artfully embedded in the architecture—the structures are not simply contained within the spaces, they are merged with the surroundings and continuously interact with them.

The artist imagines this link as the transition from static buildings and infrastructure to the ever-changing and adapting systems that account for the altering needs of their inhabitants. Revealing only the inside of these constructions, Zhestkov leaves the viewer a space for fantasising about how the entire world existing in a paradigm of total connectivity might look.