The heavily destroyed, but surprisingly sill functional laptop plays looped movie about the meteorite fall. The movie was shot using a scanning electron microscope and shows micro scale images of the small chunk of the real iron meteorite. The very same meteorite is presented on the table. The viewers can observe it through the custom set of optical lenses.
Since the dawn of time, human gazing at the night sky has been accompanied by cognitive insufficiency. Before we realized the infinity and unfathomability of cosmic phenomena, we tried to create ordo ex chaos: the calculations of the ancient Egyptians allowed us to predict solar eclipses, Pythagoras listened to the harmonia mundi, and the Copernican revolution proved that the logic of the movement of celestial bodies can really affect the social and ideological order. However, the narcissistic nature of the space studying mind was occasionally disturbed by irregularities in the form of asteroids or meteorites. The nomadic trajectories of these objects fascinated with their anarchy and unpredictability. "Shooting stars" became the source of more phantasms and myths. However, did the development of (terrestrial) civilization and the advancement of knowledge in the first half of the 21st century significantly change our approach to these objects? Both contemporary science and Hollywood pop culture seem to still base their aspirations on the Kantian category of the sublime - a mixture of rationality and emotions, experiencing fascination and horror. This moves us into the area of ​​aesthetics, reflection on the phenomena of sensual perception. The actual meteorite fragment used in this project was placed in a vacuum [from which it actually came] to be examined by SEM [scanning electron microscope]. The resulting images were used in a very unusual way to create a short film. The standard SEM research procedure has been dramatized here ad hoc, successive stages of enlargement, instead of cognitive satisfaction, paradoxically intensify anxiety, and knowledge becomes an irrational source of danger. The way the film is presented is also quite unusual. It is displayed on a completely destroyed but still working laptop. A large burned crater in the computer’s case suggests a catastrophe caused by a meteorite debris impact. The laboratory setting and mechanical repetition of the film further enhances the post-apocalyptic perception of the work.

Palm reading machine foretelling the future of the viewer.

In a perverse manner the installation brings an experience of a myth of oracle, which in an enigmatic way can predict our future. The work recalls subconscious cultural traditions such as chiromancy and ancient Greek oracle, whose foretell is difficult to verify. The whole installation is a programmed machine that randomly reveals its personality – sometimes its prophecies tease the viewer directly (presenting messages like “how about a date tonight” or “you have such beautiful eyes” from time to time). This is yet another author’s experiment with the emotionality of machines, or rather the emotionality roused in a human due to contact with a machine. The artwork also encourages reflection on trust in technology and our dependence on it, as well as the fear of its domination.

A photographic robot with a built in choice making capability taking portraits of the audience.

Controlled by a custom software robotic arm, it operates a DSLR camera with mechanical shutter release. All photos taken are immediately printed and dropped on the ground. Kinnect operated body and movement identification allows the user to precisely point the camera and take a perfectly composed portrait. However, because of it’s settings, the Robotoid seldom takes photos we normally consider to be usual. Carefully chosen parameters of the program steering the robot change constantly, making it’s actions different from a normal machine behaviour. However, unlike the human photographer it suddenly switches its attention from one object to another, releases the shutter at unexpected moments and concentrates on “less important“ actions and details.

What also makes taken photos very unusual is people's behaviour in front of a camera which is not operated by a person. They are much more natural and less posed. They are naturally driven into a specific game when they act and move in front of the robot, trying to influence its actions when taking their photo.

The installation allows viewers to navigate the robot with the microscope on the surface of the cardboard cutting mats, which in the past were used to execute artistic works.
By changing the scale to micro, looking at the notes and traces of activity becomes an exploration of a landscape reminiscent of another, alien reality.

The artist not only gives a glance at his creative process, which resists the Western tradition of displaying the final form of a work of art. Though, his experiment-based art is largely due to inspiration with scientific methods based on tests, errors, analyzes and multiple thought processes. For Jasielski, however, playing with optics ironically brings the aspect of contemplating the power of artistic gesture.

This installation is trying to negotiate nostalgia of the simple machine designed to resemble early radio receivers with typically human emotions. Based on the custom built wooden enclosure, equipped with distance and touch sensors, and the microphone it uses especially created program reacting to behaviour of the viewers in the gallery, and “showing its emotions” on set of meters.Viewers can switch on and off sets of sensors responsible for three dimensional seeing, touch and hearing and change the machine's behaviour and fine tune the particular “emotions”. In addition machine's 'emotions' make them react emotionally. Viewiers anthropomorphizethe machine by acknowledging its human feelings. This model holds that words such as ”anger”, ”sadness”, ”fear” etc. describe unique mechanism, which is triggered by discrete mental states, leading to unique, measurable outcomes. In this view exist a limited number of biologically determined basic emotional processes, which considering specific form, function an a cause, are different from mental processes like cognition or perception.

The project is the latest continuation of the Control Units series of works.

Analog Immigration is a specific back-in-time travel to the period when there were no digital devices. Viewers can experience the analog era – a place devoid of constant internet access and cell phones. The copper mesh and steel structure, like a Faraday cage, block and filter electromagnetic signals including wi-fi and mobile networks. Additionally, every person entering the show is being asked to leave all digital devices at a checkpoint at the entrance.
This work supports the viewer with a kind of a respite from modern technologies, surrounding nowadays all their senses. It can become a shelter, but also a space of deprivation, where we loose orientation due to decline of stimulus, that very often regulate our everyday experience.

Fully functional bridge made entirely out of paper. The design was created basing on the traditional Japanese bridges built at the entrance to the temple grounds. It is a kind of a test for architectural, physical capacity of material, which is dealing rather with symbolical communication than the material one. In the same time it is worth seeing the function of connecting people and objects. While presentation viewers were invited to have a walk and test the strength of the construction.

Object was created during artistic residency at Tokyo Wonder Site in 2012.

Interactive machine producing fine fog in an intention to reduce global warming effect. Clouds are increasing sun rays reflectivity lowering the temperature. This experiment emphasizes the meaning of art for transforming of both everyday life and global experiences.It is also an ironic comment on the role of the Science in the world dominated by the logic of technology, in which functionality and rationalization have are of commercial nature. Project was based on the idea of American and British scientists.

An inseparable part of creating art by Jasielski is the visualization of the idea with drawing. Traditional technique is not, however, the closing of the process of imagining the final version of the work, but an additional level of variation on the subject of technological design.The stage of preliminary preparation of creative work, therefore, broadens the real technical and engineering possibilities for the artist. Sometimes it also becomes an absurd, impossible to implement, vision.