When Wine Meets Sensory Intelligence: A Brussels Experiment Opens a New Chapter for Ajinomatrix
Eric Vauthier, CyberThéâtre pioneer and founder of Virtual Palace, publicly recognizes the potential of Ajinomatrix’s MP6 sensory technology following an experimental evaluation of a Brussels micro-cuvée.
Ajinomatrix | SensoryOS · MP6 · Wine Innovation · Digital Sensory Experiences
Brussels, Belgium — 11 November 2026
A small vineyard, an unexpected technological encounter
Sometimes, the most promising technological applications emerge far from conventional laboratories.
In Brussels, an experimental wine produced through the Clos Saint-Josse initiative has become the starting point for an exploration of digital sensory intelligence.
At the centre of this experiment is Eric Vauthier, a pioneer associated with the original CyberThéâtre adventure, founder of the Virtual Palace initiative, and a longstanding participant in Brussels’ cultural, cinematic and wine communities.
Through Beaubbles, the Champagnothèque de Bruxelles, Vauthier brings together an appreciation of wine and champagne, cultural experimentation, and an interest in emerging forms of public experience.
His experimental cuvée, Solera - Clos St-Josse, provided an opportunity to explore how Ajinomatrix’s MP6 technology might capture and represent sensory impressions in a structured digital format.
What began as a modest experiment has now generated an encouraging public response from an experienced cultural innovator — and several concrete proposals for further testing.
From a glass of wine to a digital sensory profile
Ajinomatrix develops technologies intended to digitize, structure and interpret sensory experiences.
Its MP6 framework addresses six complementary dimensions of experience, encompassing the five senses and an additional intuitive or subjective dimension.
Using the MP6 Recorder, participants can document sensory impressions and produce structured representations, including multidimensional radar visualizations.
For the Clos Saint-Josse experiment, the objective was exploratory: to examine whether a wine experience could be recorded, visualized and eventually compared across participants.
This is an important distinction.
The experiment does not establish the chemical composition, objective quality or professional rating of the wine. Nor does a generated sensory profile, by itself, constitute an independently validated tasting assessment.
Instead, it demonstrates a potential workflow for capturing and organizing subjective sensory observations.
Such a workflow could eventually support tasting panels, product comparisons, consumer research, educational experiences and interactive cultural events.
An unsolicited public recognition from a digital culture pioneer
Following the publication of an illustrated article and accompanying video by Lurch Productions, Eric Vauthier publicly commented on the Ajinomatrix technology and its possible applications.
His first observation was particularly encouraging:
« Tu es arrivé à déployer une app, un os sensitif. Nous allons l’explorer ensemble comme betatesteur. Je trouve ton os inspirant. »
“You have managed to deploy an app, a sensory OS. We are going to explore it together as beta testers. I find your OS inspiring.”
— Eric Vauthier, public Facebook comment, November 2026
This statement is noteworthy because it was offered spontaneously, in response to the published experiment, rather than through a commissioned testimonial or formal endorsement process.
Vauthier also proposed inviting members of the public and professionals to participate in a technological performance involving sensory representations.
He suggested that radar charts might even be translated into music, potentially reconnecting contemporary sensory technology with the experimental artistic practices of the original CyberThéâtre.
His reference to Atau Tanaka, whom he associates with a futuristic CyberThéâtre performance in 1997, illustrates this continuity between historical digital arts experimentation and contemporary multisensory technologies.
For Ajinomatrix, the significance lies not simply in the positive appraisal, but in the independent identification of possible applications beyond the original experiment.
A proposal for collective wine evaluation
The conversation subsequently developed into a more concrete testing opportunity.
Vauthier proposed assembling a group of approximately sixteen participants, associated with the Celia Club, to record their individual impressions of the same champagne.
The concept would involve collecting each participant’s observations, comparing the resulting sensory profiles and potentially including a professional taster.
He also expressed interest in inviting Belgian wine-tasting professional Michiel Desmaret to participate.
These are proposals under discussion, not completed studies or confirmed professional collaborations.
Nevertheless, they suggest a practical route toward evaluating MP6 in a real-world setting.
A properly designed pilot could examine several questions:
Can participants independently record meaningful sensory observations using MP6?
How do sensory profiles differ between individuals tasting the same product?
What relationships emerge between expert assessments and non-expert impressions?
Can visualized sensory differences improve discussion, education or audience engagement?
How reliably can such observations be collected, exported and compared?
A second possible experiment concerns an unsuccessful vintage from Clos Saint-Josse.
Vauthier suggested investigating whether sensory recording might help characterize why a particular year’s production was perceived as unpleasant.
This would be an exploratory sensory comparison, not a chemical diagnosis. Understanding the underlying causes of wine defects would require appropriate analytical methods and expert assessment.
Together, these two proposals offer useful directions for future pilot design.
A Second Perspective: Jo Lernout on Extending the Senses of AI
The Brussels experiment also attracted an encouraging response from Jo Lernout, co-founder of Lernout & Hauspie and a pioneer in speech and language technologies.
In a private exchange following the publication of the experiment, Lernout congratulated both Eric Vauthier and Ajinomatrix, drawing a parallel between the evolution of artificial intelligence in speech and vision and the company’s ambition to address smell and taste.
He described Ajinomatrix’s contribution as giving us “extended senses: smell and taste.”
His observation highlights an important dimension of the company’s long-term vision: extending digital intelligence beyond text, speech and visual information toward the representation and interpretation of human sensory experience.
This is a personal assessment rather than an independent technical validation or confirmation of technological priority. Nevertheless, coming from an experienced entrepreneur in language technologies, it offers a valuable perspective on the potential significance of sensory AI.
Together, the responses from Eric Vauthier and Jo Lernout illustrate two complementary dimensions of the Ajinomatrix project: practical experimentation with human sensory experiences and a broader technological vision for multimodal intelligence.
From CyberThéâtre to Virtual Palace: the cultural dimension of SensoryOS
The exchange also carries a historical dimension.
Eric Vauthier was involved in the pioneering CyberThéâtre initiatives of the 1990s, a period when digital networks, artistic experimentation and emerging interactive media began converging in new cultural spaces.
The original CyberThéâtre and Nirvanet ventures form part of that history.
Today, Vauthier is developing the Virtual Palace concept, with an ambition to connect cinema, cultural heritage and emerging immersive experiences.
Ajinomatrix’s sensory technologies offer one possible component of such future environments.
Imagine an audience attending a wine-related cultural event, documenting its sensory impressions through MP6, comparing the results in real time and exploring their transformation into visual or musical representations.
This remains a proposed application rather than an implemented Virtual Palace programme.
But it illustrates how digital sensory recording might extend beyond industrial research into public participation, performance and cultural education.
Vauthier has also publicly acknowledged the importance of preserving the history of CyberThéâtre and the relationships established around it.
That recognition connects the technological discussion with a broader ambition: ensuring that the innovations of an earlier digital generation remain accessible, documented and capable of inspiring new projects.
What this recognition means for Ajinomatrix
Ajinomatrix has been developing a technological approach in which sensory information becomes a structured digital resource.
The MP6 framework and its recording applications form part of this wider effort, alongside the company’s work on sensory analysis, product development and preference modelling.
The public comments from Eric Vauthier provide an encouraging external perspective on that direction.
They are particularly relevant for three reasons.
First, recognition of the sensory operating-system concept. Vauthier independently described the application as an OS sensitif, reflecting the broader ambition behind Ajinomatrix’s SensoryOS approach.
Second, identification of a potential real-world use case. His proposal for a group tasting moves the discussion beyond an isolated demonstration toward a repeatable participatory experiment.
Third, an interdisciplinary opportunity. His suggestion to connect sensory radar representations with music and immersive performance introduces possible applications at the intersection of sensory science, digital art and public engagement.
These observations are not evidence of commercial traction, scientific validation or a formal institutional endorsement.
They are, however, a meaningful early indication that the technology’s intended capabilities are understandable and potentially useful to an experienced external practitioner.
For an emerging technology platform, such informed feedback is an important part of the development process.
The next step: from demonstration to reproducible experience
The immediate opportunity is to convert this initial experiment into a carefully documented pilot.
A first collective MP6 tasting could establish a baseline for usability, data completeness, participant feedback and the comparability of sensory profiles.
Where professional evaluation is available, expert observations could be recorded separately and compared with participant responses.
Future work might also examine how recorded profiles can be transformed into interactive visualizations, musical interpretations or immersive experiences.
These directions would require appropriate technical development, experimental design and partner agreement.
Ajinomatrix welcomes such exploratory collaborations as part of its continuing development of digital sensory technologies.
The ambition is not to replace human perception with artificial intelligence.
It is to provide new instruments for documenting, comparing, communicating and exploring human sensory experience.
A small cuvée, a larger question
The Solera du Clos St-Josse experiment began with a wine produced on a modest scale in Brussels.
It has already prompted a wider conversation about the digitization of taste, participatory sensory evaluation and the possible convergence of wine culture, artificial intelligence and immersive arts.
Eric Vauthier’s unsolicited public response is a welcome recognition of this emerging direction.
It also provides a practical challenge for Ajinomatrix: to demonstrate that the promise of SensoryOS can be translated into reliable, accessible and reproducible experiences.
From the vineyard to the sensory record, from individual perception to collective exploration — the next stage is experimentation.
Explore the original experiment
Lurch Productions — The Alchemy of Beaubbles: A Brussels Backyard Vineyard Enters the Digital Age
Watch the experimental video
Ajinomatrix
Editorial note: This article reports an exploratory experiment and publicly expressed feedback. The proposed collective tastings, artistic applications and future collaborations have not yet been independently validated or formally established. The MP6 profiles discussed here should not be interpreted as certified analytical measurements or professional wine ratings.
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