ARS-1

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ARS-1 〰️

ARS-1
Hyper-personalisation Machine

A technical drawing of a person standing next to a contraption with multiple circular projections, showcasing complex machinery or scientific equipment.

Origin

ARS-1 originated from a dream. I found myself in an endless vaulted gallery filled with an almost infinite number of cabinet-like tables, each housing amulets from every culture and era in history. I reassembled these pieces to form new objects, and in doing so, I not only changed the object's form but also its meaning and function. This experience likely reflected my fascination with how ideas and cultures transform everyday objects into meaningful and powerful artefacts that are worshipped, carried for luck, or used for healing. I was particularly keen on exploring the possibility and implications of intentionally applying this process in a contemporary setting. Initially, I named this process hyper-personalization, but looking back, "meaning-edification" seems more apt.

Illustration of a robotic arm assembling colorful gears, documents, and icons, with four smiling square and circular faces expressing surprise, happiness, and amazement.

Early Experiments

I initially focused on shape and material, experimenting with machining rocks and semi-precious stones. At that time, it appeared that the ability to manufacture any shape from any material would be crucial to the meaning-edification concept, but I struggled to bridge the gap between form-giving and meaning-edification. There was something elusive, yet obvious, and my observations suggested that the experience was key. My hypothesis was that objects don’t become meaningful independently; they need to be linked with an idea or memory carrying personal significance.

Aguas de Tiempo

Top-down view of 20 small glass jars filled with various dried herbs, flowers, and spices on a blue and white checkered surface.

My breakthrough came when I discovered writings about traditional Mexican medicine and learned about the tradition of “aguas de tiempo,” which are remedies made from infusions of seeds, flowers, bark, or leaves from various plants. Suddenly, everything clicked into place. These elements were easy to combine, like the amulets from my dream, and they served a purpose: to remedy ailments.

Tinctures

A small pile of tinctures on white cloth napkin on wooden table.

The solution for creating aguas de tiempo was introduced by Hamish Anderson, a journalist and chef who taught me how to make tinctures from scratch. Tinctures are highly concentrated, alcohol-based infusions. The process involves selecting fresh specimens, drying them, soaking them in spirits, and then allowing them to rest for weeks.

Two glass measuring cups on a table, one filled with liquid, with a person's hand visible in the background.

The Contraption

Multiple small electronic circuit boards connected by wires, some with red LED lights, on a beige surface with a circular hole in the middle.

I conceptualised a device that would diagnose ailments and create “aguas de tiempo.” The diagnostic process was based on a scent test, premised on the idea that people crave things their bodies lack. This contraption involved users smelling samples, using a physical slider to rank them, and then creating a recommended mix of brews based on the input provided. This iterative process was designed to refine its recommendations, one user at a time.

A sheet of paper with text and symbols, featuring three black rings, a cardboard tube, and handwritten notes, under a light source. The paper has various writings, colored circles, and symbols, some in Spanish, related to emotions and states of mind.
Diagram a contraption with outlines of people around it, some taking photos and others walking nearby.

Commissioning Work

I assembled a diverse team for project development. APRDELESP, an architecture studio, handled the physical interface. The recommendation system was commissioned to Samuel Pozaicer, experienced in systems architecture, with electronics entrusted to Yair Bautista, an expert from the Institute for Advanced Engineering at UNAM. The machine's identity and graphic design were commissioned to La, ya Clásica, Pesca al Curricán, a studio led by Manuel Bueno.

Industrial workshop with a tall metallic structure on wheels at the center, surrounded by workers and tools, with a large green machine and brick walls in the background.

A launch waiting to happen

The ARS-1 was to be unveiled at OFFF Mexico but was postponed as I left for MA studies in the UK. The future of the "aguas del tiempo" hyper-personalisation machine has been on hold for over seven years, awaiting an opportunity.

Technical engineering blueprint with detailed diagrams, measurements, and specifications for mechanical or structural components, including cylindrical and circular parts, assembly instructions, and technical notes.