# Perturbatio - An artistic framework for the visualisation of the cumulative eco-impact of human activities

Tim Schneider, Charles Ménard-Wendling

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Tim Schneider, Charles Ménard-Wendling. Perturbatio - An artistic framework for the visualisation of the cumulative eco-impact of human activities. 12th International Conference on Digital and Interactive Arts: Media Art Cultures, Communities & Territories (ARTECH 2025), Nov 2025, Braga, Portugal. 10.1145/3773699.3773920. hal-05409627

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Distributed under a Creative Commons Attribution 4.0 International License
**Perturbatio** — An artistic framework for the visualisation of the cumulative
eco-impact of human activities

TIM SCHNEIDER, Université Paris-Saclay, CNRS, Laboratoire Interdisciplinaire des Sciences du Numérique (LISN);
La métonymie, Le sas, France

CHARLES MÉNARD-WENDLING, Université Sorbonne-Nouvelle Paris III; La métonymie, Le sas, France

In this paper, we present *Perturbatio* — a framework for the creation of participatory art installations that seek to visualise the collective impact of human activities on the environment. Starting from a general concept where 3D point cloud representations of land- or cityscapes are distorted according to live or pre-recorded data of human activities (such as crowd movements or traffic data), we developed four specific installations that were exhibited during the 2025 edition of *Nuit Blanche* in Paris, France. While *Perturbatio* is designed to work with a variety of visualisation supports and data input sources, the central idea is always to engage the public in reflections on scale effects and the difficulty of linking activities of daily life to their global consequences. The conception and production of the *Perturbatio* installations is guided by eco-design principles such as using existing hardware and minimizing transportation requirements.

CCS Concepts: • Applied computing → Media arts.

Additional Key Words and Phrases: Interactive Art, Digital Art, Sustainability, Eco-criticism, Point Clouds, Particle Systems, LiDAR scan, Crowd Interaction

**ACM Reference Format:**

Tim Schneider and Charles Ménard-Wendling. 2025. *Perturbatio* — An artistic framework for the visualisation of the cumulative eco-impact of human activities. 1, 1 (December 2025), 10 pages. https://doi.org/10.1145/nnnnnnn.nnnnnnn

# 1 Introduction

Modern societies are facing a strange conundrum where our mere existence is threatening the liveability of our planet. People in Western countries have an average carbon footprint between 5 and 15 tons of CO2eq per year [25]. At the level of the individual, this often looks like a regular lifestyle — working, cooking a meal, enjoying entertainment, maintaining one's home, going on vacation by plane. While the emissions of a single person would be completely negligible on a global scale, the combined effect of hundreds of millions of these lifestyles, particularly those in the so-called *global north*, is drastically altering climate conditions, ecosystems, and societies worldwide. From the perspective of the individual, it is hard, if not entirely impossible, to comprehend the link between these everyday actions and the ongoing ecological collapse — yet, it exists.

With *Perturbatio*, we are proposing a framework for participatory art installations that seek to visualise the emergence of such cumulative effects and to render them more comprehensible and palpable. The public shall be invited to think

Authors' Contact Information: Tim Schneider, tim.schneider@lisn.fr, Université Paris-Saclay, CNRS, Laboratoire Interdisciplinaire des Sciences du Numérique (LISN); La métonymie, Le sas, Orsay, France; Charles Ménard-Wendling, Université Sorbonne-Nouvelle Paris III; La métonymie, Le sas, Paris; Orsay, France.

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<figure><img src="image_2.png" /><figcaption>Fig. 1. A point cloud showing the Scholven Power Station in Gelsenkirchen (Germany) getting gradually deformed as a result of the movements of multiple persons.</figcaption></figure>

about scale effects and the difficulty of linking supposedly mundane activities to their global consequences. The general idea is as follows: The scanned image of an ecosystem, land- or cityscape is cast into the form of a 3D point cloud which gets connected to the camera feed (live or recorded) of a busy location, such as a public square, pedestrian zone, shopping mall, transportation hub etc. Using computer-vision algorithms, passers-by or vehicles are detected in the camera feed, their movements are assessed and translated into forces that push and pull at the point cloud particles, causing perturbations and deformations (Figure 1). Each single passer-by (or vehicle) introduces only a little extra disorder, usually too small to be directly perceived. However, as this process evolves for several hours, the combined effect of hundreds or thousands of individuals becomes apparent. The point cloud image, initially structured, intuitive and concrete, gradually morphs into a blurry, impressionistic, and finally, abstract chaos.

By design, *Perturbatio* can be realised using a variety of data inputs and visualization supports. In this article, we present four concrete examples that were developed for the 2025 edition of *Nuit Blanche* and exhibited at the Museum of Arts and Crafts in Paris, France, from June 7th to June 17th, 2025 as part of the exhibition *L'Air de rien*.

# 2 Technical details and implementation

## 2.1 Point clouds

An implementation of *Perturbatio* starts with the choice of the motif to be perturbed and the creation and editing of its point cloud representation. A point cloud generally describes any collection of data points distributed in three-dimensional space where each point can have one or multiple attributes assigned to it. For example, in the context of 3D modelling, the spatial distribution of a point cloud usually resembles the shape of an object and each point
has a colour assigned to it, corresponding to the colour of the object at that location. In *Perturbatio*, the focus lies on visualising the impact of human activities on the environment, point clouds typically depict threatened ecosystems (e.g., glaciers or river systems suffering from droughts) as well as urban centres and infrastructure (such as power plants, container ports or road systems). A good source for such motifs are 3D land survey data captured using aerial Light Detection And Ranging scanners (LiDAR) which are frequently provided by national geographic services. Alternatively, three-dimensional point clouds can also be computed from a series of conventional two-dimensional photos using photogrammetry applications such as Agisoft Metashape [4] or Polycam [22].

## 2.2 Render and physics engine

To display and manipulate the point cloud data, we developed a custom render and physics engine programmed in Python and OpenGL. The engine uses compute shaders to implement a simple model of Newtonian mechanics where the action of up to 512 forces on the individual point cloud particles is simulated in real time. Point clouds with well over 10 million points can be processed and rendered at a frame rate of 60 FPS (frames per second). The FFmpeg [29], OpenCV [6] and faketcpv [7] libraries are used to record time-lapse videos of an ongoing point cloud simulation.

## 2.3 Data input and interaction

*Perturbatio* is designed to work with a variety of data sources from which the forces acting on the point cloud particles can be computed. One approach is to use conventional video streams (real-time or pre-recorded) in which humans are detected and tracked using computer vision algorithms. For this, we used the default as well as custom-trained versions of the YOLOv8 detection and pose models [31] which were coupled to a custom-developed tracking algorithm. The algorithm allows it to follow the movements of individual persons across different frames, such that their displacements can be calculated and converted into the perturbing forces. Figure 2 shows an example where pedestrians in a busy public location are tracked using images streamed with a ceiling camera while Figure 3 illustrates the concept of pose tracking using a frontal-view webcam stream. It should be noted that in both cases only anonymous movement data is stored and used. We also explored an approach based on traffic data where forces correspond to vehicle movements. In particular, we used the global airspace data provided by the OpenSky Network [26] to retrace the flight routes of commercial aircrafts.

## 2.4 Eco-design principles

Given the growing ecological footprint of digital media — ranging from the raw material footprint of hardware to the greenhouse gas emissions required to operate both the hardware and software components of an installation — our team seeks to apply eco-design methodologies during the production of *Perturbatio* artworks. Specifically, we apply principles of *frugality by design* and the theory of the *already-there*, ensuring that no new hardware is purchased for the production of *Perturbatio*. Instead, we rent equipment or utilize existing resources available at the exhibition site. To collect empirical data, we also metered the power consumption of an early version of *Perturbatio* (consisting of two TV screens, two laptop computers and a Mircosoft Xbox One Kinect depth camera) during an 8-hour-long exhibition, yielding a total power consumption of 2.35 kWh. Moreover, we performed a basic life cycle assessment for the used hardware: Assuming a material lifetime of 5 years, the resulting emissions attributable to the 8 hours of exhibition amounted to ≈ 1.2 kg CO2eq.
<figure><img src="image_3.png" /><figcaption>Fig. 2. Passers-by in a busy pedestrian street detected and tracked by a custom algorithm. The image regions where persons were detected are indicated by coloured rectangles. The percentage values at the top right corner of the rectangles states the detection confidence. Individual persons are attributed a unique ID (top left corner of the rectangles), allowing it to follow their movements across multiple frames and to calculate their displacements (short green lines at the centre of the rectangles).</figcaption></figure>

<figure><img src="image_4.png" /><figcaption>Fig. 3. Two persons interacting in front of the installation described in section 4.4. Left: The results of the YOLOv8 pose detection model superimposed onto the webcam image. The parameters to the right of the image define how the detected body keypoints are mapped to the perturbing forces, the black panels below illustrate the mapping results. Right: A point cloud of the Turów Coal Mine in Turów (Poland) getting deformed as a result of the two persons' movements.</figcaption></figure>
# 3 Inspiration and art context

## 3.1 Point cloud aesthetic

Following decades of scientific and technical development, point cloud imagery is increasingly used in both contemporary art and technical applications. In *Perturbatio*, we examine point clouds through their socio-technical origins and aesthetic potential. Socio-technically, they represent the Moderns' enduring quest — per Bruno Latour — to capture reality with precision [13], from Dürer's linear perspective [11] to today's LiDAR and photogrammetry [14, 21]. These tools abstract nature into mathematical relations, whether in painting, photography, or volumetric datasets.

Aesthetically, however, point clouds reveal a fragile, spectral reality. Their fragmented form, reminiscent of Lucretius' atomism [15], suggests not just representation but potential mutation and alterity. This challenges the viewer's perception, blurring boundaries between subject and object, self and environment.

Engaging with point clouds is a phenomenological experience. Augustin Berque's "trajective" gaze [5] describes this entanglement, where the viewer is neither purely objective nor subjective, but immersed in the image's volume. This fosters a "terrestrial" attention to ecosystems, inviting audiences to reconfigure their relationship with the world.

*Perturbatio* thus navigates a duality: acknowledging point clouds' roots in modernity's controlling structures, while using them to subvert the subject-object divide. As artistic artifacts, they offer a pointillistic, subversive aesthetic at the edges of late capitalism [30], prompting viewers to mediate their connection to the "other" — be it environment, artwork, or each other.

## 3.2 Particle systems

From a software engineering standpoint, *Perturbatio* represents a *particle system*, a technique that started out in the context of early computer graphics and physics simulations and whose origins can be traced back at least until the 1970s [8]. An important milestone for particle systems was William T. Reeves' eponymous paper from 1983 [23] where he described how they can be used to model complex, fuzzy phenomena like fire, smoke, and clouds. Back then, Reeves applied this technique to animate a short sequence for the 1982 film *Star Trek II: The Wrath of Khan* where the explosion of the *Genesis bomb* triggers a massive wall-of-fire. Today, particle systems have become a staple of virtually all 3D animation software where they are still used to model fire and smoke but also liquids and even hair.

The aesthetics of moving particle clouds have frequently been picked up in digital art with one of the most prominent examples in recent years being the works of Refik Anadol [24]. With the advent of powerful GPUs in the last two decades, real-time computation of particle systems has become feasible, allowing them to be integrated into interactive installations and live performances. Among the different examples that influenced the creation of *Perturbatio*, the most notable works are *Faire corps* [2] and *En amour* [3] by French artists Adrien M & Claire B as well as *Coded Nature II* by the Dutch art collective DRIFT [10]. Moreover, the large-scale interactive universes developed by the Japanese teamLab (such as the *Borderless* [27] and *Planets* [28] exhibitions) must be mentioned here, where a completely different immersive dimension is added to the visitor experience by replacing abstract particle systems with swarms of leaves and flowers, flocks of origami cranes, or schools of animated koi fish. In *Perturbatio*, however, we wanted to go beyond these either abstract, figurative or poetic particle aesthetics and work with concrete, realistic point cloud representations of actual places, in order to strengthen the connection between the virtual point cloud deformations triggered by the visitors' presence in front of the installation and the real environmental perturbations caused by human activities worldwide.
<figure><img src="image_5.png" /><figcaption>Fig. 4. Video mapping on the facade of the Museum of Arts and Crafts during *Nuit Blanche* 2025. The point cloud shows an already perturbed false colour representation of the Gravelly Hill Interchange on the M6 motorway in Birmingham (United Kingdom).</figcaption></figure>

## 4 Installations developed for *Nuit Blanche* 2025

For the 2025 edition of *Nuit Blanche*, we developed four different versions of *Perturbatio* which were presented at the Museum of Arts and Crafts in Paris, France as part of the exhibition *L'Air de rien*. The exhibition was seen by more than 3400 visitors during evening of *Nuit Blanche* and remained open to museum goers throughout the two weeks following the event.

Mirroring the theme of the museum (science, engineering and technology), the point clouds selected for the installations exemplified human activities in various sectors of industry, traffic and business. The presented motifs included, among others, coal mines, power plants, road systems, ports, sports arenas, and skyscraper-dominated business districts. A total of 15 different point clouds were extracted and edited from publicly available LiDAR scan data provided by the national geographic services of France [18], Poland [19], Spain [16], Switzerland [20], and the UK [9] as well as by the city of Gelsenkirchen, Germany [1] and the GeoTiles project [12] hosted at the Delft University of Technology in the Netherlands. One half of the point clouds showed their motif in its real photographic colours while the other half was rendered as false colour images (a technique frequently used in data visualisation) by applying different colour lookup tables to the LiDAR signal intensity data. A 16th point cloud, representing Earth, was produced from one of NASA's ultra-high resolution *Blue Marble* photos [17] using a custom Python code.

The following subsections briefly present each of the four installations in the order a visitor might have encountered them in during *Nuit Blanche*.
<figure><img src="image_6.png" /><figcaption>Fig. 5. A point cloud representation of Earth getting perturbed by the flights arriving at or departing from the two major Parisian airports on April 29th 2025. Left: Early in the morning, Earth is still mostly unperturbed as the first planes take to the skies. Right: In the afternoon, the passage of several hundred flights has caused considerable perturbation.</figcaption></figure>

## 4.1 Video mapping from pre-recorded crowd motion data

On the facade of the museum, visitors were greeted by a monumental video mapping spanning roughly 16 m × 10 m (Figure 4). The mapping was created using a 15,000 lm laser projector installed in the courtyard facing the main entrance of the museum. It showed a loop of 9 pre-recorded time-lapse videos of different point clouds slowly getting distorted. The perturbing forces corresponded to the movements of passers-by inside recorded at *Forum des Halles* using a ceiling camera installed above one of the pedestrian streets (Figure 2). Located at the city's epicentre, *Forum des Halles* is one of Paris' busiest commercial areas as well as its largest local transportation hub, connecting 5 metro and 3 local train lines. Passer-by movements along the pedestrian street were recorded for up to 16 hours per day, accumulating the trajectories of more than 50,000 individuals. For the time-lapse recordings, an acceleration factor of 60 (1 hour becomes 1 minute) was applied which resulted in point cloud videos lasting between 8 and 16 min. The video mapping was accompanied by a specially composed soundtrack.

## 4.2 Visualisation of flight trajectory data

Once visitors entered the museum, they found themselves in front of a wall onto which another pre-recorded time-lapse video was projected using a 6,000 lm laser projector. The video showed a point cloud of Earth being furrowed by the passage of hundreds of airplanes, corresponding to all the flights arriving at or departing from the two major Parisian airports (Charles de Gaulle and Orly) within the 24-hour-period from 29 April 2025, 2 a.m. to 30 April, 2 a.m. (Figure 5). The flight route data was acquired via the OpenSky Network project [26] and the final time-lapse lasted 2 minutes and 30 seconds.

## 4.3 Real-time many-persons interaction using video projectors and webcam s

The main part of the exhibition during *Nuit Blanche* was located inside the deconsecrated St-Martin-des-Champs church belonging to the museum. Upon entering the church, visitors would see video projections inside the apse where two 6,000 lm laser projectors were casting point clouds onto the vaults (Figure 6, left). A webcam, mounted at a height of 3 m and set to one side of the apse, surveyed the individuals wandering beneath the vaults. In real time, their movements were assessed and translated into forces perturbing the currently projected point cloud which changed every 4 minutes, cycling through 7 different motifs. The video projectors and webcam were connected to a Dell Precision 5820 computer
<figure><img src="image_7.png" /><figcaption>Fig. 6. The two real-time interactive versions of *Perturbatio* developed for *Nuit Blanche 2025*. Left: Video projections onto the vaults in the apsis of St-Martin-des-Champs church. Right: The monolith installation equipped with two screens (front and backside) being explored by interacting visitors.</figcaption></figure>

which handled the webcam streaming, movement detection and point cloud simulation and rendering. Several beanbag chairs were scattered around the apse to allow visitors to lay down and rest while looking up at the video projections.

The two video projectors displayed the same view of the point clouds, arranged symmetrically about the centre line of the apse, which resulted in an image evocative of Rorschach tests. The movements of the visitors quickly perturbed and scattered the point clouds to a degree where the projections started to resemble starry night skies. The installation was designed to invite audiences to reflect on the perturbation of Western cosmogonies, itself at the root of the Modern's ecological disruption, while also recreating the age-old act of stargazing as a way to reconnect to a deeper history of human's entanglement to their ecosystems and the universe as a whole.
## 4.4 Real-time few-persons interaction using screens and webcam s

The *Perturbatio* tetraptych presented during *Nuit Blanche* was completed by a black, glass-enclosed, 2.5 m tall monolith that housed two 75 inch 4K screens, as well as two wide-angle webcam s and two Dell Precision 5820 computers. The monolith was positioned close to the apse in the ambulatory of the church (Figure 6, right). Its two screens showed 8 photographic-colour and 7 false-colour point clouds, respectively, which, changing every 1 minute and 30 seconds, were displayed in a loop. Real-time interactivity was provided through webcam streams connected to the pose tracking algorithm described in Figure 3.

The monolith installation was conceived to allow individual visitors to explore the concept behind *Perturbatio* in a more direct way. For this purpose, the forces generated by the movements were intentionally amplified such that point clouds could be completely distorted after a few seconds, as opposed to the time spans of several minutes or hours typical of the three other installations described above.

# 5 Conclusions and future work

In this article, we presented *Perturbatio* — an interactive, artistic framework conceived to visualise the impact that human activities collectively have on our environment. At the heart of the framework lies a custom-developed point cloud simulation and render engine that is capable of simulating the action of several hundreds of forces on millions of particles in real time. For the 2025 edition of *Nuit Blanche*, we developed four implementations of *Perturbatio* which were exhibited at the Museum of Arts and Crafts and seen by more than 3400 visitors. The presented versions included pre-recorded video mapping installations as well as real-time interactive stations where visitors could perturb point clouds of various industrial and urban sites through their movements.

In the two real-time versions of the installation, perturbation was deliberately amplified to ensure visitors could clearly see that their movements directly caused the deformations. While visitor experience was not formally surveyed during *Nuit Blanche*, observations of their reactions suggested this approach effectively communicated the interactive nature of the artwork. However, the result was a more playful, individual engagement that somewhat diverged from the original artistic intent of *Perturbatio* — to provoke reflection on collective effects and the individual's cumulative role within them. A key challenge moving forward is to strike the right balance: developing an artistic approach that both captures and represents the gradual emergence of cumulative effects, likely requiring a more subtle deformation over several hours, while still providing users with immediate, recognizable feedback that reinforces their active role in shaping the installation. Future exhibitions of *Perturbatio* could experiment with different feedback methods, such as timelapse visualizations, real-time displays of the motion detection underlying the interaction, or clear explanatory texts. In particular, a qualitative survey of the visitor experience should be conducted, assessing how the interaction with the artwork is understood.

In this context, we would like to develop a live version of the installation described in section 4.1 where, instead of a pre-recorded time-lapse, the point cloud is slowly deformed in real time and displayed on a screen visible from the surveyed passageway. Another interesting approach would be a web-based version of *Perturbatio* where the point clouds can be viewed in a normal web browser and where the perturbing forces are linked to online activity data. Finally, the eco-design principles considered in *Perturbatio* could be complemented through an extended CO2 footprint and energy consumption analyses as well as a survey to assess the mobility behaviour of exhibition visitors (from where and how did visitors travel to come to the exhibition).
Acknowledgments

The authors thank Xavier Maître, Nicola Lorè, Guillerm Petra, Guillaume Junot, Vincent Hulot (Le sas), and Michèle Antoine, Aude Giganon, Laurène Sarradin and Gauvain Breyne (Museum of Arts and Crafts) for the exhibition. This work is produced by La métonymie and supported by the Graduate School Engineering and System Sciences of Université Paris-Saclay under the Chair art-science program.

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