Kelly Luck
Strangeland 1 (excerpt)

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Kelly Luck – Strangeland 1 (excerpt) – United States

From a surrealist point of view, the main attraction of generative AI, for the artist, is its lack of memory. At any given moment, she only has the current frame and instructions on how to proceed, similar to free association in dreams. This work is part of a series of long-term environments designed to immerse the viewer in a constantly evolving and never-ending landscape, inviting relaxation and engagement.

Bio

As part of the first generation to grow up around computers, Kelly Luck quickly became fascinated with the creative possibilities of this new technology. Her journey has ranged from pixel art and graphic ‘hacks’ to the 90s demoscene, 2D and later 3D graphics, and now the modern tools of digital art. With the emergence of generative AI, it endlessly explores how technology continues to blur the line between imagination and reality.

Brain Entity

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Luigi Novellino (aka PintoCreation) – Brain Entity – Italy

In a laboratory, a brain-like organism grows rapidly, integrating with technology and evolving into a giant entity that manipulates objects with its mind. He hypnotizes the city, absorbing energy and creating patterns. Efforts to stop him fail, signaling a battle to understand existence. This symbolizes a new era of coexistence, urging us to embrace interconnectivity and navigate a more integrated world.

Bio

Fascinated by the limitless domain of AI, Luigi Novellino adopts the title syntographer, a term that resonates deeply within the community. The artist often asks himself: “am I an artist?” Art, in his view, defies rigid definitions or limits; it represents a fluid expression of creativity that transcends labels. The artist’s ultimate goal is to awaken something in the viewer, provoking thoughts and evoking emotions.

Credits

Music: Odyssey by John Tasoulas

БОХЬЮН ЮН
윤보현
To Reverse Yourself

FILE FESTIVAL

My work poses the question: how does reality becomes exquisitely animated by certain social control systems such as politics, mass media, technology, science, and etc. It is my artistic goal to reveal how human beings are fragile and delicate in these social environments. By living in Korea, Japan and the U.S, I have first-hand experience in diverse social systems and have come to view my life experiences as raw material for my research. With my research in mind, my art utilizes the body as the tool for an intensive investigation of the public and private; examining the relationship between how people understand their body and how this understanding represents themselves in the greater context.
Currently, I am curious about human perception developing parallel with the ever-evolving progression of technological world. Thus, I question technology’s relationship to reality and illusion; asking what is reality? My work takes advantage of illusion to explore and answer this question, and often my artistic materials consist of the body and mirrors. I use mirrors for integrating reality and illusion.

Yoro Park – Site of Reversible Destiny
“The couple first fully explored Reversible Destiny in what is regarded as their seminal gallery piece, “The Mechanism of Meaning,” an ever-evolving manifesto-cum-artwork begun in 1963, comprising 80 panels that they refined and added to over decades, many of them high-concept diagrams and puzzles with instructions and text (“A Mnemonic Device for Forgetting,” “Think One, Say Two”), made primarily of acrylic and mixed media on canvas. In an accompanying précis to the work, which was exhibited at the Guggenheim in 1997, they prescribed “no more irretrievable disappearances” and declared death “old-fashioned.” Critical opinion differs on how seriously the pair, whose work is in the collection of the Museum of Modern Art and Paris’s Centre Pompidou, took the grandiose quest to end death. But if it was intended as metaphor, neither of them ever let on. Indeed, though Arakawa himself died at 73, in 2010, and Gins four years later, at the age of 72, defying death became the defining work of their lives.” Marie Doezema

Colourfield
Colourfield is an evolutionary ecosystem of colour. Colour agents try to exist in a simple universe by producing colours that are suited to their environment. This environment is determined by the other agents and the colours they produce. Entering into complex feedback cycles, Colourfield presents an evolving palette of shifting colours. Different configurations emerge based on the strategies the ecosystem discovers for co-existance and co-dependency. Harmonious configurations often remain stable for a short while, before eventually being replaced by new relations, better able to survive in the ever shifting environment.

Cold Sleep
Right now, approximately 400 human bodies are frozen at -196 degrees Celsius in America and Russia. They are dead – legally speaking. The hope is to one day defrost and resuscitate them. The procedure is controversial. Nonetheless, cryopreservation, i.e. preserving people at extreme temperatures below zero, is an area marked by growth. The condition is sometimes referred to as ‘cold sleep’, which is also the title of Stine Deja’s first solo show in Denmark at Tranen. The exhibition is an installation of kinetic sculpture and animation. Cryopreserved bodies in thermal, yellow suits are suspended in big, circular aluminium structures revolving around their own axis on small islands in a desert landscape. In the sand lie craters where artificially inseminated cells divide. A barren desert landscape is usually seen as lifeless and abstract. In Deja’s version it becomes a place for being before or after human life, or, as the artist has it, “a population in another dimension.”

The Heart Chamber Orchestra
File Festival – Hipersonica 

In the TERMINALBEACH Heart Chamber Orchestra (made up of artists Erich Berger and Peter Vatava), twelve musicians played pieces from the heartbeat, recorded by an electrocardiogram from data sent by sensors placed on their bodies. As the live score created in real time from the physical and emotional states of the musicians, their beats further influenced the resulting musical composition. In this way, the biological feedback loop becomes a self-generating, organic and evolving system, which creates a musical score and a show that adopts the form of open or network art, in which chance and interdependence, thus how emotional changes and computational reasoning create a biological and psychological dynamic at the same time.

توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
Space elevator / Spark

Black polyester rope, plastic cable ties, metal frame.

Having studied as an architect, Tomas Saraceno incorporates physics, engineering, and aeronautics into his interactive and evolving artistic structures. Using arachnology, or the study of spiders, to create structures that suggest alternative ways of living, he employs tridimensional webs to better understand how unique building blocks create distinct forms. Saraceno places spiders in cubic frames and leaves them to spin webs, rotating the cubes at various intervals to introduce elements of freedom

Surface detail
A myriad of details in an evolving fractal landscape.

Wanderer Spacetime Poetry
Wanderer Spacetime Poetry is a continuously evolving installation series. Wanderers are small modified and individually programmed thermal printers that roam along paper strips that are stretched in different constellations across a space. On their journeys the Wanderers leave traces behind, a line, a dot or words. Like a snail with its trail the units dynamically create a poetic drawing over the course of an exhibition.

Orbits
“The aesthetics of man-made objects in space, their appearance and especially their orbits are transformed into a minimal audiovisual performance, showing the poetic dance satellites and their trash perform while revolving around us. Seemingly chaotic paths mutate to amazing patterns of an almost organic nature—all of it due to pure physical necessity. When we started working with global satellite data, their information was based on a website maintained by the US Air Force. Yet after some time, based on information from the Union of Concerned Scientists, we discovered that some objects were missing. Fortunately the data on classified satellites is generated by enthusiastic amateur astronomers observing the night skies.” Quadrature

Terraforming
The video work “terraforming” focusses on the transformation of a natural environment through energy input. The underpinning idea is that of three phase system change. This begins with the stage of equilibrium where a system is in a certain balance and not changing at all. In the next stage an evolving system enters a state of motion and change where it moves away from equilibrium. The third and final stage is the phase of transformation in which the original system becomes something else. The key element in this transformation process is the sun. This process is called terraforming, whereby a hostile environment, i.e. a planet that is too cold, too hot, or has an unbreathable atmosphere, can be altered to make it suitable for human life. Such a process is not merely a futuristic scenario but represents exactly what is happening on Earth at this moment as the process of atmospheric change brought about by increasing CO2 emissions heats up our planet and speeds up the process of climate change.
video

After All
After All is a wooden, robotic interpretation of the Phonautograph, a 19th century apparatus created by the Frenchman, Édouard-Léon Scott de Martinville. His invention predated Edison’s phonograph by 17 years and promised a new kind of visual literacy for those who could learn to read, translate, and recite its mechanically created marks. The air pressure from a voice speaking into a cone pushed and deformed the surface of a sensitive diaphragm to which a boar’s bristle was attached. Inflection in the voice moved the diaphragm and the bristle touched a revolving soot-covered wheel, scratching marks in response to air pressure changes. The marks could be ‘read back’ by those literate in a sound-to-writing technique.

Tenori-On
Media artist Toshio Iwai and and Yu Nishibori of the Music and Human Interface Group, Yamaha Center for Advanced Sound Technology, have collaborated to design a new digital musical instrument for the 21st+century, TENORI-ON. A 16×16 matrix of LED switches allows everyone to play music intuitively, creating a “visible music” interface. It consists of a hand-held screen with a grid of LED switches, any of which can be activated in a number of ways to create an evolving musical soundscape. The LED switches are held within a magnesium frame, which has two built-in speakers located on the top of frame, as well as a dial and buttons that control the type of sound and beats per minute produced.

The Movement of Air

A frontal show for three dancers evolving in an immersive environment made up of images projected, generated and animated live. A show where two impossible ones come together: the body that flies, thanks to suspension devices and the body that fits into the image. An acrobatic and digital choreographic writing which outlines a body language opening onto other relationships to time, space and the world. Beyond the search for technical prowess, it is that of a dreamlike movement and writing through images.

Cocoon
“Cocoon is a 360° x 220° spherical, immersive video installation we designed, directed and produced in house. Cocoon places the participants inside several shells of abstract and figurative architectural spaces, which slowly peel away. Cocoon believes architecture is not static, but is transitory, evolving and animated. Our city is our cocoon.” Factory Fifteen

The Infinite Crystal Universe
Pointillism uses an accumulation of distinct dots of color to create a picture. Here, light points are used to create three-dimensional objects. The light sculpture extends infinitely in all directions. People use their smartphones to select elements to throw The Infinite Crystal Universe. These elements are reborn in three dimensions, creating the artwork. The presence of people and their location within the work affect these three-dimensional elements, which in turn influence and are influenced by other elements in the space. This artwork is forever evolving, changing from moment to moment due to the people in the space.

Transfiguration (2020)
Transfiguration (2020) is a reworking of the Universal Everything studio classic from 2011, The Transfiguration. The Transfiguration was first shown at the studio’s first major solo exhibition Super-Computer Romantics at La Gaite Lyrique, Paris. Now completely remade using the latest procedural visual effects software, the updated CGI artwork brings new life to the ever-evolving walking figure, with a new foley-based soundtrack by Simon Pyke.

Watage
An interactive installation using naturally-generated power rather than man-made sources like electricity. Dandelion fluff (watage in Japanese) soaked in water to form drop-like shapes, untreated fluff, and so on serve as modules, bonded with liquid paste to be reconstructed. The fluff sways in response to viewers’ breath or movement, even in the absence of breeze, immaculately revalidating the viewer’s own existence by making their influence on surroundings visible without use of technology. Using its surrounding environment to send off its seeds, the dandelion has achieved a lightness and form in its fluff specialized to the purpose and sprouts up each year no matter how the world may change. Having been drawn into the quietly-paced world of plants, the artist looked to dandelion fluff for a new form of expression able to hold its own against showy, rapidly evolving technological expression.

Remnants

Remnants is an installation, comprised of two individual sculptures, Anatomy and Lacuna, which explores this evolving symbiosis between the mechanical and the biological become. Anatomy and Lacuna are constructed of aluminium, both containing areas of uncertain space. Anatomy contains a plane of black viscous matter and Lacuna, a black void, creating a tension between the two sculptures. The work draws on diagrammatic anatomical and architectural models, distorting scale and hijacking visual languages, creating an undetermined terrain where the purpose of our made objects is undefined.

Soundform No.1
“Soundform No.1” is a minimalistic soundscape and kinetic art installation that transforms heat energy into a poetically evolving, spatiotemporal composition. All the sound in this installation is created thermo acoustically by activating heating elements inside quartz glass tubes hung in the space. As the glass warms, a nickel-titanium spring reacts instantly, pulling the cylinder upright. At the correct angle, airflow becomes unrestricted, and a thermo acoustic phenomenon, known as a Rijke effect (named for the professor who discovered the phenomenon in 1859), creates an audible tone.

Infranet
Infranet is a generative artwork realized through a population of artificial lifeforms with evolutionary neural networks, thriving upon open geospatial data of the infrastructure of the city as their sustenance and canvas. Born curious, these agents form spatial networks through which associations spread in complex contagions. In this city as organism, the data grounds an unbounded, decentralized, open-ended, and unsupervised system. Non-human beings flourish in this environment by learning, discovering, communicating, self-governing, and evolving. The invitation is to witness, through immersive visualization and sonficiation of this complex adaptive system, how a new morphologic landscape emerges as a possible but speculative city.

Accelerator

Marnix de Nijs’ installation examines the precarious balance of machine, image and body in time and the effects that accelerated forces of gravity have on today’s urban citizenry. Participants sit in a racing car seat attached to a motorized revolving arm and focus on a video projection which is simultaneously circulating with them.

Captives
Captives is an ongoing series of digital and physical sculptures by Quayola and a contemporary homage to Michelangelo’s unfinished series “Prigioni” (1513-1534) and his technique of “non-finito”. The project explores tensions and equilibrium between form and matter, man-made objects of perfection and complex, chaotic forms of nature. In this series mathematical functions and processes describe computer-generated geological formations, endlessly evolving and morphing into classical figures resulting into life-size ‘unfinished’ sculptures.

Brad Troemel and Lauren Christiansen
JOGGING uses the microblogging platform Tumblr as a stage for immaterial works of art both real and digitally manipulated. The site functions as an evolving sketchbook in which ideas are conceived and executed with a speed and immediacy unconstrained by physical or institutional limitations, with as many as twenty pieces of work posted per day. This is in deliberate contrast to personal websites and curated portfolios in which an artist limits his or her production in an attempt to carve out an identifiable brand. Instead, JOGGING sees itself as both artist and art object, composed of multiple pieces or individual works but functioning as a single schizophrenic body, an abstract machine.

阿克塞尔利伯
Axel Lieber uses everyday items as objects of reference and alienates their materiality by coring them semantically and then filling thus evolving empty spaces with new content. In this way, new synthetic-aesthetic crossovers and oppositions arise that enliven the sculptures and guide the viewer into an intimate sphere at the same time.

比尔•维奥拉
빌 비올라
ביל ויולה
ビル·ヴィオラ
Билл Виола
An Ocean Without a Shore
First displayed in the deconsecrated church of San Gallo during the 2007 Biennale of World Art held in Venice, Italy, Ocean Without A Shore is comprised of over 240 minutes of high-definition content displayed on 65″ and 103″ plasma displays. The work is displayed in a fully synchronous yet constantly evolving format, as individuals continuously transition through a remarkable world of Viola’s creation.

Brad Troemel and Lauren Christiansen
soup base
JOGGING uses the microblogging platform Tumblr as a stage for immaterial works of art both real and digitally manipulated. The site functions as an evolving sketchbook in which ideas are conceived and executed with a speed and immediacy unconstrained by physical or institutional limitations, with as many as twenty pieces of work posted per day. This is in deliberate contrast to personal websites and curated portfolios in which an artist limits his or her production in an attempt to carve out an identifiable brand. Instead, JOGGING sees itself as both artist and art object, composed of multiple pieces or individual works but functioning as a single schizophrenic body, an abstract machine.

Deflating pavilion
The light, unbound structure of the deflating pavilion, revolving around the theme “dream” was proposed as a temporary pavilion that subtlety drapes over and encompass the Museum Garden in London. The design creates an inflated, altered reality within the existing landscape.

Insides Evening Cape
Hannah Soukup brings a multidimensional approach to apparel design by combining traditional and unconventional techniques using innovative materials and technologies to transform ideas into provocative, and intriguing wearable experiences. She is a futuristic thinker and passionate ideator with her process deeply rooted in material research and experimentation, evolving ideas through draping and sculpting on the body to bring to life intimate interactions with the garments and realities.

Symphony in D Minor

‘Symphony in D Minor’ is an interactive sound and video installation on an epic scale. A thunderstorm contained within a series of large hand cast resin sculptures, each individual form is a unique instrument hanging from the ceiling. Suspended just within reach and activated by touch, the viewer sets the symphony in motion by pushing the forms through the air to trigger the various sound elements of the storm. Sensors relay individual recordings of thunder, lightning, wind and rain with alternating intensities to a full-scale sound system. Acting as both conductor and musician, the viewer creates an evolving composition out of atmospheric sounds, forging an environment that envelops the audience. Housed within each piece are 2 video projectors employing mapping software to evenly fill the surface of the forms. Like giant illuminated pendulums each sculpture radiates video projections that in their dormant state display abstractions of water droplets and slow moving clouds. As the sensors detect movement different ranges initiate more visual elements of the storm. Once activated, the form then shifts to a swirling torrent of clouds.

Simple Harmonic Motion study #5d

Behind the different incarnations, at the heart of the project lies the concept of creating complexity from simplicity. Through the use of custom software, a number of ‘agents’ are created and assigned a simple behavior. Each follow an extremely simple repetitive pattern of movement and sound. On their own, each agent is relatively monotonous, basic and mechanical. The repetition duration, motion and sound of each agent is precisely tuned such that the collection of all agents moving together, creates a unique, evolving and complex composition – both visually and sonically. The seed of inspiration comes from the motion of pendulums and other fundamental oscillatory phenomena which exhibit simple harmonic motion. The project extracts and amplifies these complex patterns, both through visual abstraction and emphasis; and also through sonifying the phenomena and creating musical patterns driven by the same equations that dictate the behaviour.

Eartha

Eartha, the world’s largest rotating and revolving globe, is located within the headquarters of the DeLorme mapping corporation in Yarmouth, Maine. The globe weighs approximately 5,600 pounds (2,500 kg), and has a diameter of over 41 feet (12.5 m). This gives it a scale of 1:1,000,000, on which one inch represents 16 miles (26 km), one millimeter represents one kilometer. As with most globes, it’s mounted at a 23.5 degree angle, the same axial tilt as the Earth itself; thus the equator is diagonal to the floor. It uses a cantilever mount with two motors, and simulates one day’s revolution and rotation every hour, though it is possible for the motors to fully rotate the globe in as little as one minute.