Shan Hai Jing
Producer & Media Artist: Zhang Yinan
Media Artist & Director: Jung Hyun Moon
Art Director: Li Yuejuan
Choreographer & Dancer: Chiayi Jess Seetoo, Yu Chien Cheng, Zheng Lingmin
Media Art Support: Zhou Xing, Cao Yanbin, Bin Xue
Music: Jung Min Moon, Paul Yip
Stage Manager December Yang
Costume: Sophia Zhao
Lighting: Li Mingfang
Project Assistant: Liu Zhao

Bots
FILE 2024 | Installations
International Electronic Language Festival

Bots presents a computer-controlled society through a series of algorithmically controlled humanoid avatars that appear on physical carpets using augmented reality (AR). Real-time performances synthesize human behavioral patterns into a formalized digital social study. Omnipresent, combined with our devices and incorporated into virtual environments, the work reminds us of our own digitalized world, in which we are surrounded by invisible bots.

Bio

Giulia Bowinkel (born 1983) and Friedemann Banz (born 1980) live in Berlin and have worked together under the name Banz & Bowinkel since 2009. In 2007 they graduated from the Art Academy with Albert Oehlen and started making art with computers . His work encompasses computer-generated imagery, animation, augmented reality, virtual realities and installations.

Shell of

FILE 2024 | Installations
International Electronic Language Festival
Marc Vilanova – Cascade – Spain

Waterfalls are a continuous source of infrasonic frequency found in nature. Although inaudible to humans, they play a crucial role in ecosystems, especially for migratory birds who use them as a compass. However, many waterfalls have lost their frequencies due to climate change. The work creates an immersive experience in which the audience interacts with the visualization of sound waves, experiencing the vibration of sound through illuminated strings.

Bio

Marc Vilanova is a sound and visual artist who works at the intersection of art, science and nature. Vilanova’s artistic production has always been led by a spirit of innovation fueled by an interest in new media. His practice combines sound/light installations, performance, and sculpture.

Credits

This work was partially carried out within the scope of the EMAP program at gnration, with the support of the Creative Europe Culture Programme, the Avatar Center in Quebec City and the Ramon Llull Institute.

Photo:
Eloise Coomber

Pardon Our Dust
Pardon Our Dust è una nuova installazione digitale – una simulazione e narrazione virtuale – in cui l’avatar-self di La Turbo Avedon accompagna i visitatori attraverso diversi paesaggi e spazi del mondo virtuale, che – alludendo al titolo della mostra e allo sviluppo di Web3 – sono in un costante stato di costruzione e decostruzione.

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.

Networked Ecosystem
In Networked Ecosystem, natural phenomena have been replaced by digital and artificial systems as forces that drive development: Electricity/battery = sustenance, WIFI signals = nutrition, Lidar data = fire/heat. Data Organisms populate this digital ecosystem as native life forms in the form of bots, AI’s, and avatars. Visitors to this networked landscape develop new kinds of digital senses to experience data as environmental changes, and interact with the simulated world and each other in an ever-changing online environment.

Avatar do artista
“Para quem não a conhece, Shu Lea Cheang é uma figura da net art e do movimento ciberfeminista que surgiu na década de 1990. Na época, morando em Nova York, ela também era membro ativo do coletivo de vídeo ativista Paper Tiger Television (assim como a cineasta francesa Nathalie Magnan). Desde então, o trabalho de Cheang tem lidado com “questões que incluem sexo, futuro, gênero, ecologia, dinheiro, mídia e comida [para] englobar filme, instalação, trabalho online, processos sociais e intervenção direta nos sistemas sociopolítico, técnico e estético, e os imaginários que os compõem ”. Matthew Fuller

“Entropy Wrangler,” Ian Cheng’s 2013 exhibition at Off Vendome in Dusseldorf, was an excellent introduction to the logic behind this artist’s practice. The centerpiece was a large projection in the gallery’s basement described as “a live computer simulation that changes and evolves, forever.” Like all of Cheng’s simulations, it was programmed with motion capture techniques that register the physical movements of performers that are then translated onto digital bodies. These bodies coexist as individual entities subject to the laws and dynamics of a causal, virtual world: avatars of people and common objects, like hammers and basketball players, rendered in basic three-dimensional form and caught in the zero gravity of the digital screen

Niet toegestaan ​​voor algoritmische doelgroepen
Een groot aantal online kijkers bestaat tegenwoordig voor het grootste deel uit algoritmen. De algoritmen zijn getraind op auditieve informatie, die door mensen wordt geproduceerd en geladen. In de video “Niet toegestaan ​​voor het algoritmische publiek” vertoont een intelligente persoonlijke assistent (IPA), gevestigd in Athene, Griekenland, vreemd gedrag. Hij leent een avatar en verschijnt voor zijn gebruikers. Voor een korte periode, zeven opeenvolgende dagen voordat het voor altijd uitgaat, gaat het in zeven monologen. Tijdens zijn duur is de digitale assistent erin geslaagd om de volledige inhoud van internet te scannen en allerlei soorten informatie te verzamelen, informatie die hij wil delen.

Not allowed for algorithmic audiences
Un gran numero di spettatori online oggigiorno è principalmente costituito da algoritmi. Gli algoritmi sono addestrati sulle informazioni uditive, che vengono prodotte e caricate dagli esseri umani. Nel video “Non consentito per il pubblico algoritmico”, un assistente personale intelligente (IPA), situato ad Atene, in Grecia, mostra un comportamento strano. Prende in prestito un avatar e appare davanti ai suoi utenti. Per un breve periodo di tempo, per sette giorni consecutivi prima che si spenga per sempre, va in sette monologhi. Durante la sua durata, l’assistente digitale è riuscito a scansionare l’intero contenuto di Internet e raccogliere ogni tipo di informazione, informazioni che desidera condividere.

netBody: Augmented Body and Virtual Body II
FILE FESTIVAL

In „netBody: Augmented Body und Virtual Body II“ verbinden wir die reale Welt mit der Online-Realität von Second Life auf physischer Ebene: Die Körperbewegungen einer Person in der realen Welt steuern einen Avatar in Second Life, während die Bewegungen eines Avatars einen Menschen führen. Ein Second Life-Avatar wird zu einem Mittel, um das Individuum physisch mit der Gesellschaft zu verbinden. Dies könnte es Menschen auf der ganzen Welt mit der richtigen Hardware ermöglichen, sich gegenseitig über das Internet auszutauschen. Wir spielen mit unserer Wahrnehmung des Körpers eines Individuums als seine Identität.

FILE SAO PAULO 2017
LES DISCIPLINES DU RECTANGLE
Inspired by Michel Foucault’s work, Les disciplines du rectangle is a videogame proposition about the nature of rules and norms at the digital age. If society provides models of accomplishment we are supposed to fit inside, then the rectangle is the pure abstraction of this idea. The geometrical shape works as a symbol of the very nature of normativity, blind to individual differences. The rectangle, existing only on the screen, reveals how digital technologies can in some ways become the new location for this normativity and the ambivalent results of their intangible and invisible nature. Besides, the installation offers an occasion to think about the way games can become manipulation tools. The fact that in the end, players act as if they were piloted by the rectangle (an inversion of the traditional relationship between player and avatar) gives an aesthetical highlight to this.

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Inspirado en el trabajo de Michel Foucault, Les disciplines du rectangle es una propuesta de videojuego sobre la naturaleza de las reglas y normas en la era digital. Si la sociedad proporciona modelos de realización en los que se supone que encajamos, entonces el rectángulo es la pura abstracción de esta idea. La forma geométrica funciona como símbolo de la naturaleza misma de la normatividad, ciega a las diferencias individuales. El rectángulo, que existe solo en la pantalla, revela cómo las tecnologías digitales pueden convertirse de alguna manera en la nueva ubicación de esta normatividad y los resultados ambivalentes de su naturaleza intangible e invisible. Además, la instalación ofrece la oportunidad de pensar en cómo los juegos pueden convertirse en herramientas de manipulación. El hecho de que, al final, los jugadores actúen como si fueran piloteados por el rectángulo (una inversión de la relación tradicional entre jugador y avatar) le da un toque estético a esto.

netBody: Cuerpo aumentado y cuerpo virtual II
En “netBody: Augmented Body and Virtual Body II” conectamos el mundo real con la realidad online de Second Life a nivel físico: los movimientos corporales de una persona en el mundo real controlan un avatar en Second Life, mientras que los movimientos de un avatar controlar a una persona para liderar. Un avatar de Second Life se convierte en un medio de conectar físicamente al individuo con la sociedad. Esto podría permitir que personas de todo el mundo con el hardware adecuado se comuniquen entre sí a través de Internet. Jugamos con nuestra percepción del cuerpo de un individuo como su identidad.

AVATAR X Lab
Il progetto è una partnership tra ANA Holdings Inc. e Japan Aerospace Exploration Agency (JAXA); una parte di AVATAR X, un programma collaborativo per il progresso dell’esplorazione e dello sviluppo dello spazio. ANA e JAXA sono entrambe esperte nel lanciare veicoli nell’atmosfera, la sensazione di sospensione o di “essere nell’aria” è naturale per entrambe le entità. L’AVATAR X Lab Building è progettato come un edificio sospeso che galleggia sopra un cratere simile alla luna. La struttura a più piani galleggia a diciotto metri sopra il fondo del cratere ed è accessibile da un ponte. Quando gli astronauti salgono a bordo di un veicolo spaziale attraversano un ponte; quando saliamo a bordo di un aereo, attraversiamo un ponte a reazione tra il terminal e l’aereo. Questo è il nostro ultimo contatto con un terreno familiare prima di partire per un posto nuovo. L’edificio sospeso incarna questo varco di soglie: dopo aver superato il ponte si viene trasportati in un nuovo luogo, l’AVATAR X Lab Building, dove l’innovazione tecnologica cambierà il modo in cui vediamo il mondo.

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.

Work in progress
The motionless figure of an androgynous giantess occupies almost the entire gallery space in her entangled posture. On its body and around it, small scaffolding grows upwards. But the construction site is deserted. Only the figure, which resembles an avatar, remains in a calm state. A state of “being in between”. Between day and night. Between dream and reality or even between life and death? It almost seems as if the figure is still being brought back to life. One is inclined to think of Mary Shelley, whose novel character Victor Frankenstein created an artificial human being 200 years ago – in a time of great upheaval and discovery. Today we find ourselves once again at a turning point in society and technology, which makes us question ourselves as well as platforms on which we construct our selfs… Is that what Evelyn Bencicova and Enes Güç are alluding to here?

Point Cloud Old Growth
Forest on Location
In the video work Forest on Location, we see the avatar of the Iranian opera singer Shahram Yazdani walking through a forest. One moment, the forest wraps around him protectively, the next moment the trees crumble away into loose pieces of bark, or melt into a static green mass. At the same time, the forest as a whole floats around in darkness, uprooted. It is a forest without a location, except on our screen. The young man’s avatar appears to be wandering around there aimlessly. It is a wonderland that he exits from towards the end of the video, when his body slips straight through the green wall. This finally breaks the spell of the illusory forest, and everything is revealed to be no more than staged decor. But the forest does exist as a real forest, somewhere. This virtual green world is a digital back-up of Bia?owie?a Forest: the last remaining stretch of primeval low land forest that once covered much of Central Europe. Inspired by what the historian Simon Schama wrote about Bia?owie?a in Landscape and Memory (1995), Persijn Broersen and Margit Lukács journeyed to Poland to capture the forest suffused by old-Germanic nostalgia and mythical atmosphere.

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

AVATAR X Lab
The project is a partnership between ANA Holdings Inc. and Japan Aerospace Exploration Agency (JAXA); a part of AVATAR X, a collaborative program for the advancement of space exploration and development. ANA and JAXA are both experts at launching vehicles into the atmosphere, the feeling of suspension or ‘being in the air’ is natural for both entities. The AVATAR X Lab Building is designed as a suspended building floating above a moon-like crater. The multi-story structure floats eighteen meters above the crater bottom, and is accessible by a bridge. When astronauts board a spacecraft they cross a bridge; when we board a plane we walk across a jet bridge between the terminal and airplane. This is our last contact with familiar ground before taking off for someplace new. The suspended building embodies this crossing of thresholds: after passing over the bridge you are transported to a new place, the AVATAR X Lab Building, where technological innovation will change how we see the world.

Visual Voice Virtual Reality
VVVR (Visual Voice Virtual Reality) is a voice controlled tool for self exploration and well being. It combines virtual reality and audio effects to temporarily free the mind from language and cultivate awareness of the present moment. In VVVR two people sit across from one another and are represented in the virtual space with corresponding avatars. When either person makes sound it is translated into glowing geometry that flows from their mouth. The vocal audio is harmonically processed and fed back through the headphones.

Avatars
For this installation, So Kanno + yang02 composed all kinds of differently sized objects, including a telephone, a traffic cone, a plaster figure, a car, and a plant. Cameras, microphones, monitors and microcomputers are embedded in everyday objects arranged in the exhibition space, and connected to the Internet. Visitors can experience the work by logging in to / “riding“ each object via a web browser. Those objects exist as substitutes of – yet together with – real human beings (the visitors) in the same real environment that is subject to physical laws, rather than operating in a virtual space. Against the backdrop of the age of IoT, where all kinds of things are connected through networks, and artificial intelligence is about to mature, this work observes the new relationships that emerge when inorganic, non-autonomous objects transform into persons that act and perceive the world according to their own intentions.

Chatrooms II
LaTurbo Avedon is a social media avatar and artist. Her work has been enabled by an ever-growing network of friends and collaborators, allowing her to participate in both online and offline exhibitions internationally. Residing entirely on digital platforms, her work ranges from character creation in video games to constructing entirely new virtual environments to inhabit.

Avatar of the artist
Taiwan in Venice 2019
“For those who don’t know her, Shu Lea Cheang is a figure of Net art and the cyberfeminist movement that emerged in the 1990s. Living in New York at the time, she was also an active member of the activist video collective Paper Tiger Television (as was French filmmaker Nathalie Magnan). Since then, Cheang’s work has dealt with “concerns including sex, futures, gender, ecology, money, media, and food [to] encompass film, installation, online work, social processes, and direct intervention in the sociopolitical, technical and aesthetic systems, and the imaginaries which co-compose them,” writes Matthew Fuller

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.

The Masking Machine
Using a custom wearable computer I can walk around any space wearing the still images now animated by my facial expressions. When seen through the screen hovering in front of my face I wear the images like an avatar, but unlike with the stills on a wall or images online I can reach out from behind the screen to shake hands and talk with viewers.

move
File Festival
MOVE is an interactive installation divided into six distinct modules, JUMP, AVOID, CHASE, THROW, HIDE and COLLECT. Each module offers a single-user interaction, based on a verb corresponding to the action the participant is invited to perform. Each verb corresponds to a common procedure acted out by avatars during videogame play. Each module offers an interaction with abstracted shapes (circles, rectangles) behaving according to simplified rules of physics (collision, friction). Each module is color-coded with consistency, where the color red is used for the graphical element that poses the core challenge. Each module increases difficulty in a similar linear manner.What makes MOVE unusual is that unlike most computer vision or sensor based games like Eye-toy or Dance Dance Revolution, the participant IS the avatar, he is not seeing a representation of herself or an indirect result of her actions on a separate screen but instead interacts directly with the projected graphical constituents of the game. Because those graphical elements are non-representational they do not allow for a projection in a fictional space. The combination of abstracted shapes and direct interaction reinforces in the player the focus on the action itself (JUMP, AVOID, CHASE, THROW, HIDE or COLLECT) instead of an ulterior goal.

МЯО СЯОЧУНЬ
缪晓春
مياو شياو تشون
last judgment in cyberspace (detail)
Printed in black and white. Miao’s photos conceive the celestial as a silvery futuristic tableau that’s enchantingly serene and threateningly industrial. In combining the sublime awe of religious painting with malevolent science fiction theme, Miao uses photography to engage the viewer in an ultra-modern way. In using digital process to create his subject ‘from scratch’, Miao’s photographs authenticate a virtual world rather than document reality. Similar to video game graphics and ‘screen shots’, Miao’s images involve the viewer by casting them as ‘avatars’ within the action.

The Swing

In The Swing, a 3D game avatar becomes Rococo fleshy decadence. In this multi-screen animation, the avatar swings on a seat suspended from the sky, in super Mannerist slow time. Her wooded surroundings ebb and flow at different rate, imitating stop-motion. Years pass in a matter of moments. The avatar is the driver of all of these cycles, but a driver scarcely in control – she is instead, a Mother Nature heading straight for what she suspects might be oblivion. The Swing is a multi channel installation, in nine, five and three screen versions.

sound: Kurt Hentschlager

精美雕塑艺术 非常设计师网
The work of Laurent Craste lies at the crossroads of two mediums, participating in the world of visual arts, but never stepping beyond its borders. Ceramics, linked by tradition to crafts, requires a technical knowledge and know-how so restrictive that artists are prompted to remain within canonical forms, never pushing their limits. Video art, the recent avatar of the moving image, does not always acknowledge its main ancestor, cinema. The innovative aspect of this work is the combination of the two mediums with the addition of humorous or dramatic short stories, encompassing an autobiographical element that never descends to self-righteousness.

Avactor (A.I.)

FILE FESTIVAL
Thus, we could define computers not only as object-machines for the use of natural subjectivity, but also as machines of artificial subjectivity, in such way that the subject- machines would operate the object-machines, the same happening for automata, robots and digital avatars. However, we observe the need of another element, whose absence prevents artificial subjectivity’s manifestation. In the present moment, rather than an artificial ego or an artificial conscience, in a structuralizing sense, it must have, in a tactical sense, a persona or a personality, in sum, an actor. Without that persona, artificial subjectivity becomes a mere landscape, lacking subjective referential; without that actor, there is not empathy between artificial subjectivity and natural subjectivity. We call that artificial personality: the Avactor.

The Nemesis Machine
via highlike submit

The Nemesis Machine è una grande installazione (adattata a ogni luogo in cui viene esposta) che è una città in miniatura. Visualizza la vita nella metropoli sulla base dei dati trasmessi da Londra. Quindi la città costruita a Bruges utilizzando componenti elettronici riflette in tempo reale ciò che sta accadendo dall’altra parte della Manica. Piccole telecamere mostrano le immagini dei visitatori in modo che diventino parte della città.Una mini metropoli meccanica funziona su dati urbani in tempo reale. L’opera d’arte cattura i cambiamenti nel tempo nell’ambiente (città) e rappresenta la vita mutevole e la complessità dello spazio come un’opera d’arte emergente. L’opera d’arte esplora nuovi modi di pensare alla vita, all’emergenza e all’interazione all’interno dello spazio pubblico. Il progetto utilizza tecnologie di monitoraggio ambientale e tecnologie basate sulla sicurezza, per mettere in discussione le esperienze del pubblico degli eventi in tempo reale e creare visualizzazioni della vita mentre si svolge. L’installazione va oltre la semplice interazione da parte del singolo utente per monitorare e rilevare in tempo reale l’intera città e rappresentare interamente le complessità della città in tempo reale come un sistema complesso in mutamento, i dati e le loro interazioni, ovvero gli eventi che si verificano nell’ambiente che circonda e avvolge l’installazione – si traducono nella forza che dà vita alla città elettronica provocando il movimento e il cambiamento – cioè, nuovi eventi e azioni – che si verificano. In questo modo la città si esibisce in tempo reale attraverso il suo avatar fisico o doppio elettronico: la città si esibisce attraverso un’altra città. Causa ed effetto diventano evidenti in modo discreto e intuitivo, quando determinati eventi che si verificano nella città reale fanno sì che certi altri eventi si verifichino nel suo doppio completamente diverso, ma perfettamente incorporato. La città avatar non è solo controllata dalla città reale in termini di funzione e funzionamento, ma anche completamente dipendente da essa per la sua esistenza.

爱沙尼亚艺术家 柏林个展
meet your energy avatar

My Life as an Avatar 06.08
File Festival – Machinima

Annie Ok is an interdisciplinary artist. Her work is an expression of entropic congruity and organic abstract deconstruction, inspired by nature, science, mathematics, evolution, dysfunction, ambivalence and ambiguity.