The mechanical duck, constructed around 1738 by the French engineer Jacques de Vaucanson, allegedly consisted of more than 400 moveable parts. It was said to have the ability to flap its wings, drink water and peck grains. And it was claimed to possess an artificial digestive system enabling it to excrete realistic duck droppings.

The picture depicting the mechanical construction of this early automaton epitomises Aristotle's concept of entelechy, interpreted as completeness: entelechy describes the state that every individual reaches once its development is completed and means the completed single entity as well as the individual in its state of completion. Entelechy is the form that carries its potentiality within itself and that realises itself in matter.

It was the purposeful potency of actualisation driving Jacques de Vaucanson, when he turned his excellent idea into a complex construction plan and eventually into a functioning automaton.

Entelechy is whenever teleological, or goal-oriented, thinking is happening, where actions or developmental processes are geared towards a purpose and therefore proceed purposefully, or where they finalise their development from their own volition and persistently actualise their completed being.

It is this drive that allows the potentiality of a movie’s screenplay to become reality. The movie is the screenplay’s entelechy, because the movie is the actualisation of the screenplay. By purposefully consolidating the single production processes the artistic, technical and organisational efforts of the different departments engage with each other as in a mechanical clockwork, and the process of movie creation is taking place, which cannot be accomplished without the powers of self-organisation and self-actualisation that are inherent in teamwork.

At the same time, entelechy means the holding of completed skills that are principally available at any time. Thereby, entelechy describes the ability of individuals, but not the individuals themselves. A film producer, for example, has the ability to produce movies, which makes the production of movies the producer’s entelechy. This ability, executed with sharpened pen and a calm hand, equates to his potentiality.

"All things that exist now, and not just potentially, are beings-at-work and all of them have a tendency towards being-at-work in a particular way that would be their proper and ‘complete’ way." (Joe Sachs, 1995)

In combination with entelechy, works can be understood as a verb, meaning: entelechy works, is effective, or functions. On the other hand, it can be taken as a noun when in connection with the exhibition of former works under the page title "entelechy works" on the website.

There, works point to the convergence of entelechy and energy. While the form is entelechy, when it contains the goal of the work, it is also energy, because it also contains the source of work. Energeia (en ergô einai: being at work) is the living actualisation as opposed to the mere potentiality or possibility of a form, and refers to the transition from possibility to reality.