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

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

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

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

AMECA
“Multiply the power of artificial Intelligence with an artificial body. Ameca is the physical presence that brings your code to life. The most advanced lifelike humanoid you can use to develop and show off your greatest machine learning interactions. This robot is the digital interface to the real world.” Engineered Arts
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“A U.K. robotics firm called Engineered Arts just debuted the first videos of its new humanoid robot, which is able to make hyper-realistic facial expressions. It’s a pretty stunning achievement in the world of robotics; it just also happens to be absolutely terrifying.
Named Ameca, the robot’s face features eyes, cheeks, a mouth, and forehead that contort and change shape to show off emotions ranging from awe to surprise to happiness. One of the new videos of Ameca shows it waking up and seemingly coming to grips with its own existence for the first time ever.” Neel V.Patel

FILE LED Show

The art-technology exhibition of FILE São Paulo 2013 brings the new interactive work by the famous 1024 architecture group to be presented on the gigantic LED panel of FIESP building on Paulista Avenue. People could change the images on the panel through their voices or by humming a song.
The 1024 architecture group created the “interactive LED” digital graphic project for the Paulista Avenue, which will be presented from July 22 through August 18, 2013. The project consists of a podium with a microphone installed on the sidewalk of the Paulista Avenue, where people could interact through the vocal conversion into musical notes. The 1024 architecture group elaborated a brand new algorithm for this project, which changes the graphic behaviors by means of sounds. Depending on the note sung, several parameters of the program, such as colors, shapes, density, and rhythms (squares, circles, stripes, etc.), will change.

The Call for Entries to participate in FILE – Electronic Language International Festival’s projects in 2024 is now open. The festival seeks original artworks in Art and Technology, by Brazilian and international artists. Registration remains open until February 10th. Access the registration form.

FILE is a non-profit cultural organization that has propagated creation and experimentation in Art and Technology through exhibitions, events and publications over 23 years. This call opens up the opportunity to participate in the 23rd. Edition of the Electronic Language International Festival, which is scheduled to take place at the FIESP Cultural Center, in São Paulo. The selected projects will also be able to collaborate in parallel events in different states in Brazil.

Using the registration form, it is possible to send interactive installations, sound art, video art, robotics, animations, CGI videos, virtual realities, augmented realities, mobile art, games, gifs, internet art, lectures and workshops, among others. To participate in the LED SHOW programm, exhibited annually at the FIESP Digital Art Gallery, register using the form. Sign up!

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

SMS Slingshot
file festival

SMSlingshot
The SMSlingshot est un lance-pierre numérique qui envoie des SMS colorés sur les murs, telles des billes de paint-ball. La recette est simple, ou presque : un vidéo projecteur, un lance-pierre en bois muni d’un pointeur laser et une radio à Ultra Haute Fréquence. L’utilisateur utilise le clavier du lance-pierre pour écrire son message, vise un mur et le bombarde. Son SMS s’inscrit dans une tâche de peinture colorée.
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SMSlingshot
Der SMSlingshot ist eine digitale Schleuder, die wie Paintballs bunte Textnachrichten an Wände schickt. Das Rezept ist einfach oder fast: ein Videoprojektor, eine Holzschleuder mit Laserpointer und ein Ultrahochfrequenz-Radio. Der Nutzer schreibt mit der Schleuder-Tastatur seine Nachricht, zielt auf eine Wand und bombardiert diese. Ihre Textnachricht ist Teil einer bunten Lackierung.

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SMSlingshot
SMSlingshot è una fionda digitale che invia messaggi di testo colorati ai muri come palline di vernice. La ricetta è semplice, o quasi: un videoproiettore, una fionda di legno con puntatore laser e una radio Ultra High Frequency. L’utente utilizza la tastiera a fionda per scrivere il proprio messaggio, mira a un muro e lo bombarda. Il suo messaggio di testo fa parte di un lavoro di pittura colorato.

Tribe City
Hundreds of beings and dreamlike and dystopian elements inhabit the digital and autonomous works that are part of this project. “It’s a portrait of the masses,” summarise the artists, whose fascination with group dynamics, technological phenomena and the ego are expressed in Tribe with an eclectic selection of individuals who bring to life deeply recognisable social attitudes. Collective behaviour and manipulation are recurring themes in SMACK’s work, which often uses popular visual references and light-hearted aesthetics to present us with an uncomfortable reflection of who we are.

Emobot
Catala’s work investigate emotions and empathy in our technological information-driven society. His computer generated Emobot appears at once familiar and strange as it utters simple statement about its feelings. The visually mesmerizing figure might serve as an avatar onto which we relate to the expression of strong feelings when they are delivered digitally-an increasing prevalent cultural phenomena. Listening to a not-quite human presence express its vulnerability may have less impact in us than hearing a real person communicate similar emotions. Nevertheless, the deliberate and repetitive manner in which Emobot articulates powerful sentiments affords us ample opportunity to reflect on the existential quality of their meaning.

super consumers floral

Superconsumers is a response to the luxury consumer products on sale within the department store. Universal Everything created a series of extreme digital-pop-art amplifications of these products, bringing them to life as a diverse, animated parade of characters – from metallic puffer jackets to elaborate jewellery, gastronomical creations to bold floral arrangements.

ايسي مياكي
איסי מיקים
イッセイミヤケ
이세이 미야케
HOMME PLISSÉ

Im Zentrum von Miyakes Philosophie der Kleidung steht die Idee, ein Kleidungsstück aus einem Stück Stoff zu kreieren. und die Erforschung des Raumes zwischen dem menschlichen Körper und dem Gewebe, das ihn bedeckt. Sein Fokus auf Design war immer, ein ausgewogenes Verhältnis zwischen Tradition und Innovation aufrechtzuerhalten: handgefertigte und neue Technologie. FOLDING BITTE wurde 1993 geboren und ist eine radikale, aber äußerst praktische Form zeitgenössischer Kleidung: Sie kombiniert eine alte Idee, eine dreidimensionale Figur mit zweidimensionalem Material unter Verwendung von Falten zu verbinden, mit neuer Technologie, Funktionalität und Schönheit . 1998 kehrte Miyake zu seiner ursprünglichen Liebe zur Forschung und Erforschung zurück und startete mit dem Mitarbeiter Dai Fujiwara ein neues Projekt namens A-POC (One Piece of Fabric). Durch die Erforschung der Möglichkeiten zwischen Kreativität und digitaler Technologie hinterfragt Miyake die traditionellen Methoden, mit denen wir Dinge tun.

recognition
RECOGNITION

Recognition, winner of IK Prize 2016 for digital innovation, is an artificial intelligence program that compares up-to-the-minute photojournalism with British art from the Tate collection. Over three months from 2 September to 27 November, Recognition will create an ever-expanding virtual gallery: a time capsule of the world represented in diverse types of images, past and present.A display at Tate Britain accompanies the online project offering visitors the chance to interrupt the machine’s selection process. The results of this experiment – to see if an artificial intelligence can learn from the many personal responses humans have when looking at images – will be presented on this site at the end of the project.Recognition is a project by Fabrica for Tate; in partnership with Microsoft, content provider Reuters, artificial intelligence algorithm by Jolibrain.

Light Tree: Interactive Dan Flavin
HYBE’s Light Tree: Interactive Dan Flavin re-illuminates the minimalist fluorescent light tubes of Dan Flavin from the 1960s, through digital technology. Experimenting with light and its effect, Flavin explored artistic meaning in relationships between light, situation, and environment. The readymade fluorescent light fixtures he used created space divided and adjusted by light and composition, offering a newly structured space with light. HYBE’s work expands the logic of Flavin by reinforcing the physical property of light through interactive media. It presents an escape from traditional lighting, as light and color changes when touched by viewers. Lighting here is divided into front and back, and colors are programmed to maintain complementary colors. The front lighting constantly interacts with colors on a back wall through visual contrast and mixture. A random change and diffusion of light with the involvement of viewers provokes tension extending and segmenting space, turning space into a forum for emotional perceptual experience.

Frederik Heyman and Wout Bosschaert

For MOMU3, Frederik Heyman creates, in collaboration with graphic artist Wout Bosschaert, 3 fashion films in which he infuses the rich collection of the ModeMuseum with digital life by using 3D scans and manipulations.

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MOMU3 では、フレデリック ヘイマンがグラフィック アーティストの Wout Bosschaert と協力して、3D デジタル化と操作を使用して ModeMuseum の膨大なコレクションにデジタル ライフをもたらす 3 つのファッション映画を制作しました。

IN-OUT/Paradis artificiels
music specially composed by Jacopo Baboni Schilingi
software written by Claude Micheli
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Trans-Natures ”é uma exploração poética da ligação entre natureza e artifício. Na continuação de uma abordagem iniciada no final dos anos 1990, ele se baseia na observação do reino vegetal e sua transposição imaginária para o mundo digital. Esta natureza artificial, cujas formas lembram vegetação rasteira, combina várias espécies de árvores, arbustos, ramos e folhagens. Seu desenvolvimento e formas são inspirados em “diagramas de árvore”, sistemas de organização de dados que utilizam o princípio de raízes, troncos e galhos. Essa natureza, com suas formas ora realistas, ora abstratas, é gerada ad infinitum por meio de software escrito por Claude Micheli. As plantas brotam ao acaso, florescendo e morrendo ao comando de vários “códigos morfogenéticos”. O jardim se renova e se transforma constantemente. Formas vegetais fluidas se desenrolam no espaço enquanto arborescências de galhos abrasivos crescem implacavelmente, parecendo às vezes explodir da tela. A obra brinca com o senso de limites espaciais de seus visitantes. Imerso em sua esfericidade envolvente, sua concepção de longe e de perto é reconfigurada, aberta ao infinito.

Morphogenetic Creations
Created by a mathematician, digital artist and Emmy award winning supervisor of computer generated effects – Andy Lomas, Morphogenetic Creations is a collection of works that explore the nature of complex forms that can be produced by digital simulation of growth systems. These pieces start with a simple initial form which is incrementally developed over time by adding iterative layers of complexity to the structure.The aim is to create structures emergently: exploring generic similarities between many different forms in nature rather than recreating any particular organism. In the process he is exploring universal archetypal forms that can come from growth processes rather than top-down externally engineered design.Programmed using C++ with CUDA, the series use a system of growth by deposition: small particles of matter are repeatedly deposited onto a growing structure to build incrementally over time. Rules are used to determine how new particles are created, and how they move before being deposited. Small changes to these rules can have dramatic effects on the final structure, in effect changing the environment in which the form is grown. To create these works, Andy uses the GPU as a compute device rather than as a display device. All the data is held in memory on the GPU and various kernel functions are called to do things like apply forces to the cells, make cells split, and to render the cells using ray-tracing. The simulations and rendering for each of the different animated structures within this piece take about 12 hours to run, Andy explains. By the end of the simulations there are over 50,000,000 cells in each structure.The Cellular Forms use a more biological model, representing a simplified system of cellular growth. Structures are created out of interconnected cells, with rules for the forces between cells, as well as rules for how cells accumulate internal nutrients. When the nutrient level in a cell exceeds a given threshold the cell splits into two, with both the parent and daughter cells reconnecting to their immediate neighbours. Many different complex organic structures are seen to arise from subtle variations on these rules, creating forms with strong reminiscences of plants, corals, internal organs and micro-organisms.

mediative digital art
While in quarantine, I became inspired to create my vision of a world of meditativeness; my vision of how the practice of meditation can also be integrated into our every day lives through art, architecture, design and fashion. My vision is of a future based on the individual practice of meditation, extending to every aspect of our every day lives. I am inspired by Japanese Zen art, architecture and design. It’s very existence has shaped the world culture in profound ways, and will continue to impact art and design as it lives through my creations.

Cyberia

Performance & live computer generated simulation

A postmodern fairytale, Cyberia takes place somewhere in a cold distant East, stretching between and endless imaginary realm and a vast physical space. It is a westwards journey towards a promised future with no arrival and no return. There is no here or there, only a twilight zone between a departure point and a simulated destination. Between digital video projections and a physical setting, using the mechanics of a video-game engine with a motion capture suit, Cyberia is the simulation of an endless pre-climax state where a performer and a CG avatar dance as one to the rhythms of an imaginary West. In a world oversaturated by digital data –mysticism and paranormal are as popular as ever. Emerging technologies are increasingly incorporated in a form of postmodern spiritualism, as Arthur C. Clarke points out: “Any sufficiently advanced technology is indistinguishable from magic.

Somaphony

<somaphony> is composed of autogenous electronic objects that respond to stimuli and biofeedback wearable controllers. As it is connected with heart pulse, muscle tense, and movement of performers, real-time audiovisual visual composition is possible. The artist explores interdependence between digital equipment and performers that express behavior and cybernetic(artificial brain) relationship through this project.

Upload not complete
The work magnifies the process of virtual and real fusion, which is the process of uploading human consciousness to digital space. When the visual perception has been lost, can people still recognize the body through the touch and sound of wind, sound and vibration everywhere? Experiencers use non-visual senses, experience media art, and cooperate with the Taiwanese Non-Visual Aesthetic Education Association to create a digital space where the computer can fully understand the location of the experiencer in the space, allowing the experiencer to listen, move, touch objects, feel the vibration and come to know the space.

Exformation, an interactive installation inspired by the concept of “exformation,” was developed for a composition by Jesper Nordin performed by the Diotima string quartet and combines musical, luminous and colorimetric scores. Around the musicians, positioned on a technically equipped stage, three aluminium-edged cubes with LEDs mounted on circular rails move and angle their light in keeping with an algorithmic programme based on analysis of the spectrum, timbre and intensity of the music. This sensitive object becomes a total composition, a poetic, digital entity responding to the work played at its centre.

Concrete Storm
On first impression, visitors experience solid forms, which draw on minimalist motifs and underscore the stable properties of concrete. While wearing the HoloLens, viewers enter a mixed reality, enlivened by responsive holograms that augment the physical environment of the installation. With Concrete Storm, DRIFT explores the layer between the parallel worlds, whereby the real and the virtual worlds co-exist. People’s attention is now constantly divided between these two worlds in which they coexist. The artists believe that combining these two seemingly separate worlds they can study the unlimited possibilities of the unstoppable evolution. Concrete Storm expands the boundaries of the digital world, freed from screens, and integrated into the fabric of physical existence.

Scale
‘scale’ is an interspecies art project: an audience-interactive installation that involves nocturnal electric fish from the Amazon River Basin. Twelve different species of these fish comprise a choir whose sonified electrical fields provide the source tones for an immersive audiovisual environment. The fish are housed in individual tanks configured in a custom-built sculptural arc of aluminum frames placed around a central podium. The electrical field from each fish is translated into sound, and is thus heard — unprocessed or with digital effects added, with immediate control over volume via a touchscreen panel — through a 12-channel surround sound system, and with LED arrays under each tank for visual feedback. All software is custom-designed. Audience members interact as deejays with the system. Amongst the goals of the project is our desire to foster wider public awareness of these remarkable creatures, their importance to the field of neurological research, and the fragility of their native ecosystem.The project leaders comprise visual/conceptual artist Marlena Novak, composer/sound designer Jay Alan Yim, and neural engineer Malcolm MacIver. MacIver’s research focuses on sensory processing and locomotion in electric fish and translating this research into bio-inspired technologies for sensing and underwater propulsion through advanced fish robots. Novak and Yim, collaborating as ‘localStyle’, make intermedia works that explore perceptual themes, addressing both physical and psychological thresholds in the context of behavior, society/politics, and aesthetics.

Erratic Weather
Despite some world leaders skepticism, climate change is a reality and the world isn’t just warming, in some parts of the planet the weather is becoming more erratic. During the last years, our generation has started to observe the effects and consequences of this shift, witnessing violent and unexpected climate phenomenons. Erratic Weather is a digital art project aiming to represent changing atmospheric conditions into an immersive multimedia experience. During the performance, the system uses various source of weather information retrieved from an online database and processed on real time to generate a visual and a surround sound composition. During 30 minutes the audience will experience the life cycle of swirling phenomenons such typhoon, hurricane and tropical cyclone , demonstrating the devastating power of the nature and the emergency to preserve it.

Videosculpture XXI
Van der Auwera’s VideoSculptures take a new position to explore the intersections of digital and physical life and how the filtering of images in production, dissemination, and digestion alter both individual perception and consensual experience. Using the screen as sculptural material, these works break images out of the frame in a low-tech manner. They start with an act of destruction as the artist literally takes a knife to a screen to carve away physical layers. Unbeknown to most, these layers are filters that are adhered to every LCD screen. Without the mediation of these filters, images become impossible to see with the naked eye and white noise fills the space.

克劳斯奥伯迈尔
the concept of … (here and now)

In front of a giant screen, two dancers interact with a cohort of cameras… Their movements are captured by infra-red sensors and projected onto the screen, whereby their bodies become the canvas on which new images take shape. The result is a shifting kaleidoscope of strange, living, quasi-mathematical visual worlds which sometimes seem to be emanating or even escaping from the dancers’ bodies. “Who decides which movement to make: the man or the machine?” Blurring the line between the real and the virtual, Klaus Obermaier loves to subsume his performers’ bodies and physicality in a disconcerting digital universe. With his latest creation, the choreographer/artist has taken a bold new step. He has constructed a system of projectors and infra-red sensor-cameras, trained upon the movements of two dancers. The performers thus find themselves thrown headlong into a living, moving graphical universe: their movements are projected onto the screen, but at the same time their bodies are illuminated by more projected images. This is a true artistic performance, pushing well beyond the frontiers of a standard dance recital, or even a contemporary dance show. A corporeal, temporal performance. A choreography which makes subtle use of its raw materials, deftly combining lights, video, perspectives and the real-time power of bodily movement.

Samplingplong
File Festival

Randomly selected, acoustically usable finds (electronic junk, relays, plastic toys,compressed air valves, pneumatically operated components) are combined with cables and tubes. Via a device controlled by computer, they are turned into interactive instruments. An improvised ensemble evolves, from which – per mouse-over and mouse-click -short miniature compositions of dense rhythmic clicks, hisses, whirs, hums and crackles can be elicited. A tapestry of sound bursts forth from the floral-like web of cables and tubes. The installation can be used by the projected mouse-cursor: rolling over the improvised instruments causes small sound events. Activating the installation by rolling over its parts enables the user to play spontaneous improvisations. Clicking these objects starts short programs of loop-like compositions. Small “techno-compositions en miniature”, rhythmic patterns of analog (or real) sounds; a physical low-tech simulation of electronic, digital music, perhaps an ironic comment on interactivity.

Turbulence
TURBULENCE is an ongoing series of immersive experiences created for large-scale, high-resolution media environments that embosom the viewer in digital flow of particles.It’s a set of visual experiments on particles simulated in different virtual environments.

Growth
Wang & Söderström is a Copenhagen based transdisciplinary duo composed of Swedish designer Anny Wang and architect Tim Söderström. The bridging of the physical and digital realms is a major theme in their practice and they are constantly trying to challenge the boundaries between them. Fluctuating between art and design, Wang & Söderström wants to throw out pre-existing conventions regarding the digital and put emphasis on the emotional and tactile side of materials, objects and textures to give the digital a more human-relatable quality and create more meaningful connections. “By 3D scanning elements from nature, like tree trunks, leaves and plants and mixing it with surrealistic materials and behaviors, we wanted to let them continue to grow in a digital environment.”

SVNSCRNS
SVNSCRNS is a commissioning project that is initiated by Klankvorm after a concept by Joris Strijbos. The project consists of the realization of a kinetic audiovisual installation for which artists are invited to realize content. The installation can be used for live performances as well as for playing prearranged compositions. The installation consists of seven rotating projection screens and speakers that can be controlled from a central point. Custom build software and hardware are accessible for artists from different backgrounds to experiment with this new dynamic field for audiovisual composition. Light, sound and movement come together with different forms of digital media to create a multi sensorial experience for the audience. In this way the project functions as a platform in which makers and creators of all kinds can collaboratively explore this kinetic audiovisual medium. The result is a slow moving robotic structure which can display different sorts of media but in it’s presence will have a strong influence on the experience of the spectator.

迈克尔·曼宁
Most known for his series Phone Arts and Microsoft Store Paintings, these works explore the boundaries and limitations of stock image making software like Microsoft Paint. Manning uses these technologies to create his digital works, that are Abstract Expressionist in nature but persistent in their idiosyncratic Manning aesthetic. While these works begin as JPEGS, they are then printed onto canvas and brushed with a clear acrylic for texture, able to transcend the screen into the three dimensional gallery.

ДАНИЭЛЬ ВИДРИК
Tower Study
Daniel Widrig’s studio now works in a broad range of fields including sculpture, fashion, furniture design and architecture. Embracing digital systems since its early days, the studio holds a unique position in the field and is widely considered to be in the vanguard of digital art and design.The Tower Studies examine this same material behaviour on an architectural scale, further blurring the distinction found on a small scale between structure and ornament.

Self Luminous 2 – Unbalance
Self-luminous 2 is an experimental handmade instrument shown as performance. It is a series-project which I have been working on since 2013 and finally developed into shape in 2014. I am looking for intimate and personal instrument that reflects on the relation of digital sound and light message. In computer language, light on is 1 and light off is 0. If more than 2 lamps, it could be code or readable possibility by the meanings. When I press the button or turn the knob, the message will be sent to Pure Data, and the sound will be triggered in live by Pure Data.
The Data of sound such as frequency and volume, are analysed and sent out to the second Arduino to control the light. The light, in thus case, is an intuitive element for human beings. From this point, it is really close to sound which disturbs our biological body directly. The lights are visualised and they can be transferred the into messages. The message might be readable by coincidence with the link to the code. The light is bright enough to let audience to have persistence of vision in mind. During the performance, the sound will be reproduced by code and part of it is impromptu.
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inForm
is a Dynamic Shape Display that can render 3D content physically, so users can interact with digital information in a tangible way. inFORM can also interact with the physical world around it, for example moving objects on the table’s surface. Remote participants in a video conference can be displayed physically, allowing for a strong sense of presence and the ability to interact physically at a distance.

장영혜중공업
Heavy Industries
dakota
I discuss how the poem controls the reader’s experience and how this control affects its possible interpretations. The control is mostly executed by limiting the reader’s freedom over reading. Reading time, direction and duration are determined by the poem. It is only possible to start the poem, but not rewind, stop or fast-forward it. Furthermore, the manipulation of speed affects reading in many ways. In the fast extreme the effect is illegibility, but more subtly used speed creates varieties of emphasis and de-emphasis. The effect of emphasis of this kind, I argue, creates different layers of readings and invites re-reading. These different readings require different cognitive modes, which mirror our contemporary reading habits. Not being in control of the reading process also leads to a scattered sense of unity, one of postmodernism’s essential traits. While reading the poem I also question why I read as I do, and by doing so I hope to present more general traits of how to approach digital literature.

Эрнесто Клар
Convergenze parallele

Convergenze parallele is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in realtime by a custom software system. The installation reacts to air movements in the exhibition space, allowing the viewer to see and hear the amplified movement of dust particles. “Convergenze parallele” explores the poetic potential of revealing and transforming the imperceptible. The custom software uses a video camera to capture the activity of dust articles passing through the beam of light. It then analyzes the video signal to track the location of individual dust particles, and reveals each particle’s trajectory in the image-processed projection. The physical particles draw traces of their otherwise invisible motion on the digital screen. At random intervals, the software artificially saturates the system by briefly activating the fan-a cloud of dust fills the beam of light and creates dense and stunning patterns of particle trajectories and sound.

File Festival

surprisingly this rather works
“Surprisingly This Rather Works” is a spatial intervention at ST. AGNES / KÖNIG GALERIE and at the same time a virtual extension of its exterior. The entire gallery is transformed into a gaming environment inspired by the 1990s game show “American Gladiators” and so-called gyms that are used for cutting-edge research in artificial intelligence by companies such as Open AI in San Francisco.
The visitor turns into an avatar and interacts with objects that are part of a parcours. These objects broaden the perspective on what painting and sculpture can be in the digital realm.

TriangPaint

Holger Lippmann describes a part of his work as digital painting. What distinguishes digital painting from traditional painting on canvas or paper? We need to distinguish between two categories of digital painting. The first includes works created on the computer with ready-made graphic tools like virtual paint brushes or pens, in something like the way that non-digital pictures are created on paper or canvas. David Hockney’s painting of a sunflower on an i-pad is an example of this. The second category includes works using computer generation, in which programs coded by the artist continually produce new aesthetic concepts as images or animations. Every execution of the software creates new works within the pre-defined boundaries of the system. This process can be called generative painting.

anthropOcean

AnthropOcean, interactive project created by the artist-researcher Olga Kisseleva, brings the public to question its implication in an environment which we keep adjusting to our aspirations, with a particular focus on the ocean. At the heart of this project is an online database dedicated to climate change and to the broader ties between ocean, climate and society. This database is the source of all visual displays seen by the public and it also has an interactive dimension: the public itself is able to feed the database thanks to a specific barcode. In other words, the art piece takes the shape of a visual display installation composed of digital objects that it visually maps and connects to one another.

The Spire dress
Alexis Walsh is a designer and artist based in New York City. Through the exploration of emerging technologies including 3D printing and digital modeling, integrated with traditional handcraft, Alexis utilizes an interdisciplinary approach to push the boundaries of fashion design. Alexis graduated with honors from Parsons The New School for Design.

Jacob’dream: a luminous path
San Francisco-based electronic-media artist Jim Campbell creates work that combines film, light emitting diodes (LEDs) and sculptural elements. His choice of materials is often complex, and he uses them to create imagery that is allusive and open-ended. His exploration of the distinction between the analog world and its digital representation metaphorically parallels the difference between poetic understanding versus the mathematics of data.

Organic
Daniel Widrig’s studio works in a broad range of fields including sculpture, fashion, furniture design and architecture. Embracing digital systems since its early days, the studio holds a unique position in the field and is widely considered to be in the vanguard of digital art and design.

迈克·温克尔曼
Майк Винкельман
minor peon

La cantidad no es lo mismo que la calidad, ya lo sabemos, pero el diseñador gráfico estadounidense Mike Winkelmann (alias Beeple) ha logrado hacer coincidir las dos cosas. Beeple, con su carácter autocrítico, decidió que la mejor manera de mejorar su talento artístico era completar una obra completa en un día, todos los días. Así nació el proyecto Everydays, que ya se encuentra en su octavo año consecutivo, y en 2015 la ciencia ficción es la principal inspiración. Cada año Beeple utiliza un medio diferente para crear sus obras artísticas, y este año el artista ha utilizado herramientas digitales como Cinema 4D, Octane Renderer, Z-Brush y X-Particles. En menos de 24 horas, Beeple es capaz de crear una ilustración digital hiperrealista que parece haber tardado mucho más en hacer. Los increíbles resultados resaltan paisajes y escenarios futuristas que parecen sacados de una película de ciencia ficción, donde hay un claro contraste entre la pequeñez de la figura humana (a veces casi imperceptible) y el aparato tecnológico que tiene frente a él. Otras obras, en cambio, representan formas más abstractas, que, sin embargo, nunca se apartan de su carácter futurista. Profundamente detallada y minuciosa, parece imposible que cada una de estas obras se cree y complete en un día, pero lo cierto es que la estadounidense El artista ya está en el 3030 de trabajo consecutivo y no parece querer frenar el ritmo. Es decir, es un artista reacio a la dilación.

Google red marble

Digital native et issu d’une famille d’agriculteur, Mathieu s’intéresse à l’influence des technologies sur la perception de notre réalité contemporaine. Il s’interroge sur la matérialité d’internet et ses représentations. Il cherche à traduire l’expérience du web surfer, l’imagination de l’internaute face à ce flux infini d’informations.
Dans ses projets se dégagent de façon récurrente des questions environnementales. Inspiré par la lecture de l’essai philosophique d’Ariel Kyrou « Google God » de 2010, il interroge cette image presque divine associés aux géants du web.
Il utilise comme médium les big datas. Via ses algorithmes qu’il développe, par des processus de recyclage et des analogies à la nature, il façonne des flux de données afin d’en créer des matérialisations tangibles. Abstractions, reliques, cristallisations ou fragment du World Wide Web, son travail protéiforme se matérialise principalement en sculptures et installations multimédia.
Influencé autant par l’histoire de l’abstraction, les artistes du Land Art, que par les Nouveaux Réalistes, ses créations sont associées au Culture Digital, au mouvement Post-Digital ou Post-Internet Art.

Death Death Death
File Festival
“Death Death Death” is book written by an algorithm. It utilizes a word association study conducted by the University of South Florida between 1976 and 1998. It contains over 10,000 words and their associations to each other. “Death Death Death” traces a path from each word to the word death. The book starts off with the words most closely associated to death. The beginning reads like this: Life – Death Funeral – Death Coffin – Death. Later, it takes several associative leaps to get to death: Enthusiasm – Spirit – Soul – Death Folly – Funny – Sad – Death Bahamas – Paradise – Heaven – Death Waggle – Wiggle – Worm – Maggot – Death. Reading soon becomes humorous, as every line reads like a joke-death is always the punchline. “Death Death Death” is 405 pages, contains an index so you can find any word, and a detailed description of the algorithm. Death Death Death was nominated for the 2010 File Prix Lux in the Digital Languages category.
video

timeLandscape woolrhythms

“timeLandscape – wool rhythms” 2010. Part of timeLandscape series, 2009 – 2010. Video, audio, projector, speakers, custom patch (PD-Gem), sensor, wool engine. Variable dimensions and duration, loop. “timeLandscape – woolrhythms” is an interactive audiovisual installation in which a landscape is depicted from its multiple time possibilities and [re]composed through users’ real time interaction. The installation was developed in Biella, Italy, an area economically attached to textile industry, and deals with the cyclical perception of time and human, linear, interference on it. It gathers nature and artefact, by connecting a physical wool engine to digital imagery of daily cycles. By turning the wheel crank, users generate movement starting the engine. Through a sensor attached to the machine, software calculates the rotation speed, altering parameters for mixing audio and video fragments in real time. Every turn of the machine leads to different time thread combinations in response to the rhythm and speed of each interactor.

FILE FESTIVAL

МЯО СЯОЧУНЬ
缪晓春
مياو شياو تشون
The large-scale nine-panel installation, Microcosm, is based on Hieronymus Bosch’s 15th century masterpiece, The Garden of Earthly Delights. Microcosm is an imaginative reinvention of the sumptuous landscape of sin, salvation, and tawdry visions of those who never made it to paradise. The structure and narrative pattern of Bosch’s triptych, such as the architecture of heaven, earth and hell, as well as the basic forms of Bosch’s pictures, have been preserved in Miao Xiaochun’s work. But new digital means and computer technologies have allowed Miao Xiaochun to explore a contemporary visual vocabulary. He abolishes the traditional fixed single-point perspective aesthetic, instead favoring the Chinese tradition of multiple points of view in a single landscape.

Revealing The Truth – Vincent Van Gogh
Tadao Cern is a photographer and artist based in Vilnius, Lithuania. He graduated in architecture, but in spring of 2010 he decided to try something new and he found himself in the world of photography. These images are digital recreations iconic paintings using photography and digital retouching.