Candaş Şişman's original Patterns of Possibilities (2015) explored chance and permanence through a physical process—hundreds of dice thrown onto canvas, their values fixed at the moment of impact, creating a static pattern born from accumulated probability. When the National Taiwan Museum of Fine Arts commissioned a new iteration for the Metabody in Kinesphere exhibition, we proposed extending the work's conceptual territory from permanence to emergence: translating the artwork into a generative system that would make pattern formation itself visible rather than presenting only the final result. The challenge wasn't simply digitizing a physical process but fundamentally reconsidering how audiences engage with probability, order, and chaos when the system remains open rather than resolved.

We developed the work in TouchDesigner, prioritizing real-time performance and cryptographic randomness over computational convenience. The system generates dice throws continuously—not pseudo-random approximations but mathematically true randomness using cryptographic algorithms—maintaining 60fps performance while calculating position, value, and audio coupling for each event. Every eight minutes, the system accumulates a complete pattern from 4,096 individual probability events, then resets to begin again. The timing emerged through iterative calibration rather than mathematical predetermination; we adjusted the pace until the rhythm felt neither rushed nor stagnant, allowing viewers to perceive individual moments while experiencing the larger pattern's gradual emergence.

The technical architecture served conceptual objectives. Cryptographic randomness ensures genuine unpredictability—each cycle produces a pattern that has never existed and will never recur, emphasizing the work's engagement with chance as fundamental principle rather than aesthetic effect. The audio system couples unique pre-composed sounds to each die value, transforming visual probability into auditory pattern; sound designer Tunca Candaş created distinct sonic signatures that accumulate into evolving audio landscapes mirroring the visual composition. The 224x224cm LED display establishes the work at architectural scale, positioning viewers in relation to pattern formation as temporal event rather than static object.

The project operated across typically separate domains—gallery installation requiring real-time systems engineering, conceptual art requiring technical infrastructure design, collaborative development requiring both artistic sensitivity and computational precision. We had explored digital translation years earlier through weekend web prototypes, establishing conceptual foundation before the commission materialized. The work connects to broader practice through medium-agnostic approach: whether computational design, CG production, or gallery installation, the core interest remains translating ideas into visual systems that communicate through beauty and systematic rigor. The exhibition toured from its Taiwan premiere to Akbank Sanat in Istanbul and Noise Media Art Fair, demonstrating how generative systems can make philosophical inquiry tangible through sustained observation of probability becoming pattern.