FABIANO ONÇA & COLMEIA
Tantalus Quest
file festival
Game designer Fabiano Onça conceived the game, in which people must fill geometric shapes with their own silhouettes (as captured by webcams hanging from the ceiling): Software was built with OpenFrameworks, which is to C++ what Processing is to Java. A prototype was built with Flash (AS3), but it was slow — reading pixel values (BitmapData.getPixel) can be processor-heavy. Thanks to OpenFrameworks, porting the AS3 code to C++ was quite easy. The application is very simple: the images captured by the cameras are brightened, blurred and thresholded, resulting in black blobs. The amount of blob pixels inside the geometric shape count as positive points and the pixels outside the geometric shape count as negative points.
NERI OXMAN AND MIT DEVELOP PROGRAMMA
Агуаходжа
Разнообразие форм и поведения этих предметов отражает то, как они выражены в природе, где такой материал, как хитин, может составлять как экзоскелет ракообразных, так и клеточные стенки грибов. В отличие от стали и бетона, композитные материалы, образованные из этих материалов, находятся в постоянном диалоге с окружающей средой. Некоторые артефакты демонстрируют резкие изменения формы в ответ на влагу и тепло, в то время как другие темнеют или светлеют в зависимости от времени года. Некоторые из них хрупкие и прозрачные со стекловидной текстурой, а другие остаются гибкими и жесткими, как кожа. Несмотря на появляющееся разнообразие, эти артефакты обладают одним общим качеством: в жизни их свойства опосредуются влажностью; при смерти они диссоциируют в воде и возвращаются в экосистему.
zach blas
Facial Weaponization Suite
Die Facial Weaponization Suite protestiert gegen die biometrische Gesichtserkennung – und die Ungleichheiten, die diese Technologien verbreiten -, indem sie in Community-basierten Workshops „kollektive Masken“ erstellt, die aus den aggregierten Gesichtsdaten der Teilnehmer modelliert werden. Dies führt zu amorphen Masken, die von Menschen nicht als menschliche Gesichter erkannt werden können biometrische Gesichtserkennungstechnologien. Die Masken werden für öffentliche Interventionen und Aufführungen verwendet. Eine Maske, die Fag-Gesichtsmaske, die aus den biometrischen Gesichtsdaten vieler queerer Männergesichter generiert wird, ist eine Antwort auf wissenschaftliche Studien, die die Bestimmung der sexuellen Orientierung durch schnelle Gesichtserkennungstechniken verbinden. Eine andere Maske untersucht eine dreigliedrige Vorstellung von Schwärze, die zwischen biometrischem Rassismus (der Unfähigkeit biometrischer Technologien, dunkle Haut zu erkennen), der Bevorzugung von Schwarz in der militanten Ästhetik und Schwarz als dem, was informell verschleiert, aufgeteilt ist. Eine dritte Maske befasst sich mit den Beziehungen des Feminismus zu Verschleierung und Unmerklichkeit und betrachtet die jüngste Schleiergesetzgebung in Frankreich als einen beunruhigenden Ort, der Sichtbarkeit zu einer unterdrückenden Kontrolllogik macht. Eine vierte Maske greift den Einsatz von Biometrie als Grenzsicherungstechnologie an der mexikanisch-amerikanischen Grenze und die daraus resultierende Gewalt und den damit verbundenen Nationalismus auf. Diese Masken überschneiden sich mit der Verwendung von Maskierung durch soziale Bewegungen als undurchsichtiges Werkzeug der kollektiven Transformation, das dominante Formen politischer Repräsentation ablehnt.
QUBIT AI: FILE OPENING LECTURE 2024 – São Paulo – Art and Technology
FILE 2024
QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center
Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena
QUBIT AI
In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.
Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.
Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.
Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.
Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival
Liva Isakson
To Hold Sway
Met een werkproces gebaseerd op experimenten rond materiaal en hun verschillende kwaliteiten, creëert Liva Isakson Lundin ruimtelijke installaties waar spanning, gewicht en balans van groot belang zijn. Met materiaal als latex, gelatine en stripstaal laat ze de kwaliteit van het materiaal en de relatie met de ruimte de uiteindelijke vorm van het werk bepalen. Ondanks dat de werken stil zijn, stralen ze een sterke beweging en spanning uit. Door het gebruik van materiaal, maat en vorm moeten de stukken als zeer lichamelijk worden omschreven en wordt de toeschouwer aangetrokken tot het aanraken en voelen van de werken.
AES+F
The Feast of Trimalchio: Arrival of Golden Boat
Del Satyricon di Petronio, spiritoso e lirico malinconico dell’epoca dell’imperatore Nerone, ci pervenne quasi intatto solo il capitolo dedicato alla cena di Trimalcione. La fantasia di Petronio fece del nome di Trimalcione il simbolo della ricezza e del lusso, del vizio della gola e della lussuria in barba alla fugacità della vita umana.
Abbiamo cercato di presentare qualcosa di simile nelle realta` del Terzo Millennio. Così, abbiamo visto Trimalchione, ex servo, liberto, nuovo ricco che dà conviti di molti giorni nel suo palazzo, invece che una persona, come un’immagine generalizzata di un hotel di lusso, una sorta di paradiso terrestre, il soggiorno in cui è prepagato.
Gli ospiti dell’hotel – i ‘padroni’, esponenti del “miliardo dorato”, cercano di dedicare parte del loro tempo, in qualsiasi stagione, al soggiorno presso Trimalcione odierno che ha arredato il proprio palazzo – hotel con il massimo esoticismo e lusso. L’architettura del Palazzo Hotel rappresenta un’assurda sintesi della spiaggia tropicale con la stazione sciistica. I ‘padroni’ indossano abiti bianchi che sembrano, da una parte, l’uniforme dei giusti dell’Eden temporaneo, dall’altra, la tradizionale uniforme coloniale, e, al contempo, una collezione estiva alla moda. I ‘padroni’ impersonano tutte le caratteristiche dell’umanità: ci sono, tra di loro, personaggi dai bambini ai vecchioni, hanno certi segni psicologici e sociali: un pofessore è dissimile da un broker, una donna di mondo da una intellettuale. I ‘servi’ di Trimalcione, giovani e carini esponenti di vari continenti (asiatici, africani, latinoamericani), il personale dell’industria alberghiera, dalle cameriere ai cuochi, ai giardinieri, alle guardie e ai massaggiatori. Sono tutti giovani e belli e indossano uniformi tradizionali di vario colore a seconda dell’etnia. Sono una specie di ‘angeli’ “di colore” del paradiso al quale i ‘padroni’ possono accedere per un certo tempo.
Andy Wen
Shenzhen Genzon Technology Innovation Center
Aedas
Cette image vivante implique les possibilités infinies dans l’intégration de la technologie, de l’énergie et de l’innovation. La conception propose des ascenseurs-navettes et des terrasses partagées le long du côté centripète de chaque tour pour engendrer un environnement de bureau relaxant à expansion verticale. La zone ouverte s’étend longitudinalement et se rejoint naturellement au fond; accentué par l’éclairage intérieur, des contours d’étamines dorées émergent et les panneaux de verre incurvés se présentent comme des pétales, faisant allusion à la muse florale du projet.
Renzo Piano
The New Pathe Foundation Headquarters
Renzo Piano Building Workshop designed the “organic creature” in the courtyard of a 19th-century block to house the new headquarters of the Fondation Jérôme Seydoux-Pathé – dedicated to preserving the history of French film company Pathé and promoting cinematography.
The egg-shaped form connects to the surrounding Haussmann-era buildings at four points. Its form curves away from the existing buildings and its top peeks over the roofline.
Meiro Koizumi
Prometheus Bound
In Greek Mythology, Prometheus stole fire (technology) from Zeus and gave it to humans, and for this, he got crucified on a mountaintop, and had to endure the eternal pain as a punishment. Since the beginning of our civilization, technology has been the source of prosperity and development. But also it has been the cause of great tragedies such as war sand nuclear accidents. Setting the Aeschylus Greek tragedy “Prometheus Bound” as a starting point, Koizumi created VR (Virtual Reality) theater which deals with this age-old tension between humanity and technology, through collaboration with a person who is desperately longing for the technological advancement – a person who is suffering from ALS (Amyotrophic Lateral Sclerosis- the deadly neurological disease that make a person paralyzed). Through the dialogues with the man about his personal life and his visions of the future, they created a sci-fi vision in which past and future, self and others, humans and machines are all merged into one sequence of abstract VR theatrical experience.
FILE SÃO PAULO 2025: SYNTHETIKA – Weidi Zhang & Rodger Luo
ReCollection
Weidi Zhang & Rodger Luo
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Installations
Electronic Language International Festival
ReCollection – China | United States
ReCollection is an interactive installation that uses artificial intelligence to construct synthetic collective visual memories from natural language input. The work blurs the line between memory and imagination through experimental visualizations and AI systems, prompting reflection on how narratives of memory are shaped by emerging technologies.
BIO
Weidi Zhang is a new media artist and designer based in Los Angeles and Phoenix. She is an Assistant Professor of Immersive Experience Design at Arizona State University. Her interdisciplinary research explores speculative assemblages at the intersection of immersive media, experimental data visualization, and interactive AI art. Dr. Jieliang (Rodger) Luo is the CEO and Head of Research at Minus AI, a research-driven startup focused on leveraging AI technology to empower the creative industry. He holds a Ph.D. in Media Arts and Technology from the University of California, Santa Barbara, and has previously served as a Senior Principal Research Scientist at the Autodesk AI Lab.
ERIC ANDERSEN
Solplænen
Eric Singer/LEMUR
LEMUR GuitarBot
File Festival
The “LEMUR GuitarBot” is a robotically controlled electric slide guitar-like instrument. It is comprised of four independently controllable units which can pick and slide extremely rapidly. Resembling neither a traditional robot nor a guitar, it is a new type of instrument with markedly different capabilities than a human guitarist.
