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.

EGO

FILE 2024 | Installations
International Electronic Language Festival

The mirror stage in psychology explains how the Ego forms through objectification, where one’s visual appearance comes into conflict with emotional experience, a concept called ‘alienation‘ by psychoanalyst Jacques Lacan. The interactive installation EGO reenacts and reverses this process by distorting the mirror image based on the user’s movements, highlighting the tension between the real and the symbolic, the Ego and the It, subject and object.

Bio

Klaus Obermaier is an interdisciplinary artist, director and composer who creates innovative works in the performing arts, music and installations using new media. Stefano D’Alessio researches social issues induced by the internet and explores how the web and its derivatives influence human behavior and the body. Martina Menegon creates intricate assemblages of physical and virtual elements, exploring the contemporary self and its hybrid corporeality.

Elements
Elements is an experimental art film by Maxim Zhestkov about nature, physics, art and love. More than 2 billion elements / particles governed by tensions and forces of nature were used to tell stories and show emotions through the motion of collective behavior.
The film is a trial to explore the idea that everything around us and inside us is made from simple elements / blocks which can be arranged in complex relationships and become compound structures. We could project this idea into emotions, behaviours, thought processes, relationships, life, planets and the 23.

The way we were
Not only does Arcangelo Sassolino transform failure into art, but he manages to make the art of failing a profound part of the art of living. He goes even further in the awareness of risk. He is aware that his experiments may not hold up to the forces that he himself puts in place but this possible collateral damage wants to represent an additional value, becoming precisely the existential metaphor of the concepts of risk and failure. His installations explore the behavior and mechanical limits of matter, he forces their characteristics to distort their shape, gravity, pressure, friction, statics, and of each possibility Sassolino contemplates the risks of collapse with its precise timing and programming.

The willful marionette
the willful marionette (2014) was created by artists Lilla LoCurto and Bill Outcault during a residency with the University of North Carolina Charlotte, working with the College of Computing and Informatics as well as the College of Art and Architecture. The marionette is 3d printed from the scanned image of a human figure and responds engagingly in real time to spontaneous human gestures by reading a viewer’s movements and expressions. Its strings are manipulated by motors and software and there are two depth sensors that read and analyze the behaviors and gestures of participants. The puppet’s subsequent actions are designed to elicit further responses, creating an exchange focusing on the frailty and insecurities of the human participant and raising issues of contemporary relevance. The intention of the project was not to create so much a perfectly functioning robot but rather to imbue an obviously mechanically actuated marionette with the ability to solicit a physical and emotional dialog with a viewer.

Troll Mirror
The mechanical mirrors are made of various materials but share the same behavior and interaction; any person standing in front of one of these pieces is instantly reflected on its surface. The mechanical mirrors all have video cameras, motors and computers on board and produce a soothing sound as the viewer interacts with them. Troll Mirror was commisioned by Traget and is made of pairs of pink and blue troll dolls. Every troll doll pair can rotate so that the pink or blue troll face the front. The result is a colorfull reflection of the viewer’s outline and playfull colorfull transitions

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.

eCLOUD
The eCLOUD is a dynamic sculpture inspired by the volume and behavior of an idealized cloud. Made from unique polycarbonate tiles that can fade between transparent and opaque states, its patterns are transformed periodically by real time weather from around the world. It is a permanent sculpture between gates 22 and 23 at the San Jose International Airport and was a collaboration between Dan Goods, Nik Hafermaas, and Aaron Koblin.

Oculus
Oculus is a large-scale, collaborative light sculpture that depicts a colossal abstracted drosophila eye, replete with compound faceted surfaces. It both recalls the circular opening at the apex of a cupola and alludes to a surveillance device or drone hovering in mid-air. Oculus is inspired in part by a series of scanning electron micrographs produced in a transgenic lab while researching human and non-human sensoria. The work evokes affective encounters with scale such as viewing miniature particles through the lens of a microscope or wandering through monumental physical environments. As each viewer’s reflection plays across the sculpture’s undulating surface, the apprehension of the self affects both individual and collective behavior in unexpected ways. This affective dynamic plays on the precariousness of our coexistence with other lifeforms in the world, one that is always contingent upon viewers’ bodies and the variability of the environment around them. The act of gazing at Oculus also puts into play the reciprocal condition of both seeing and being seen.

Eyeris
Eyeris is a cultural prosthetic that renders the user dependent on human touch for sight. While many of today’s digital devices extend our abilities to connect with each other, disability of our current digital devices can been seen through our loss of tangible human interaction. I made this piece in trying to explore the importance of human interdependency in a society living under the myth of autonomy driven by technological symbiosis between man and computer. Eyeris is a mechanically operated electronic device powered by digital input that is deliberately over-engineered to call attention to the social behavioral conditioning imposed on us through less discreet technological devices that we assimilate on a daily basis.

罗杰·海恩斯
A retrospective view of the pathway
His work revolves around the contemporary problem of understanding the meaning and significance of the world. It uses objects and behaviors that are opposed to the more conditioned and appropriate approaches of its predecessors and contemporaries. Hiorns has worked with Naked Youths, antidepressants, jet engines, buried airliners, steroids, sexual activity, and crystallization. In order to identify dominant objects and behaviors in the Western world, she asserts the need for an awareness in harmony with the world’s process, a necessary awareness for progress in improving this disappointing time for the development of human potential.

Realistic and Interactive Robot Gaze
System for lifelike gaze in human-robot interactions using a humanoid Audio-Animatronics® bust. Previous work examining mutual gaze between robots and humans has focused on technical implementation. We present a general architecture that seeks not only to create gaze interactions from a technological standpoint, but also through the lens of character animation where the fidelity and believability of motion is paramount; that is, we seek to create an interaction which demonstrates the illusion of life. A complete system is described that perceives persons in the environment, identifies persons-of-interest based on salient actions, selects an appropriate gaze behavior, and executes high, fidelity motions to respond to the stimuli. We use mechanisms that mimic motor and attention behaviors analogous to those observed in biological systems including attention habituation, saccades, and differences in motion bandwidth for actuators.

We only come out at night
FILE FESTIVAL 2007
We Only Come Out at Night is an urban graffiti project involving interactive public projections. A site is selected at dawn and a sticker is stuck or a stencil image is sprayed at the location. When the sun sets, jellies are projected over the heads of pedestrians on the street. As the pedestrian walks underneath the projection, the monsters grab the shadows of the people and eat them. The sticker is then removed and the project visits another place at dawn. A website is created to track the history of the monster appearance in order to promote and create a mythology. There are seven monsters in total, each monster’s design and behavior is unique. Gula, the monster that always eat, Avaritia, the monster that stuffs you into his pants, Invidia, the monster that takes your image and pretends to be you, and so on. Each monster is unique but always sad.

Untitled: (A Search for Ghosts in the Meat Machine)
What does it mean to be human? At first glance a simple question, the idea of being human is an unstable construct, continuously recrafted. Recent technological innovations allow us to redesign ourselves profoundly— from networked prosthetics and artificial intelligence, to the genetic code of life itself. Can our behaviors be reduced to algorithms? Can our bodies be upgraded with nonorganic integrations? Can sentience itself by manufactured in a lab? This set of nine sculptures examines personhood from anatomical, psychological, genetic, biochemical, behavioral, algorithmic, personal narrative and memory. In many ways, this installation is an emotional confrontation with being quantifiable.

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.

The form of becoming
In this abstract system, each intelligent agent is embodied as a motor, the states in its environment is represented as an angular range of rotation and the actions as one of two directions in which each agent can move a linear actuator. Each linear system holds a segment of a long black string, this translates as a point in the represented line. Once the system runs, each agent learns, from informational equivalents of pain and pleasure, to move towards the highest values within its environment, this means ultimately to displace its position from point A to B. In order for an agent to learn, it needs time, generations of exploration, each agent will get punished for bad decisions and rewarded for appropriate ones. Every time a learning generation is finished, a light will blink for that particular agent, indicating the end of a cycle and the achievement of new knowledge; the agent becomes more intelligent. Once all agents learned to be and stay in point B, the system, as a collective, has successfully mutated into a stable, balanced, symmetric and silent form; a straight line. Finally, after a few seconds, the sculpture forgets, all agents are rebooted and the cycle of creation, chaos and order restarts, this time with a totally different and unique behavior.

Fog Sound Environment
Fog Sound Environment is a site specific installation originally conceived for the foreland of DordtYart located nearby the junction of the three rivers that traverse Dordrecht. In this experiential artwork real fog is being created by pushing water under very high pressure through hundreds of nozzles. The fog system consists of independent sections that surround the foreland. The timing and distribution of the fog is part of a composition system that incorporates the on-site wind direction in real-time. The fog is dispersed across the, by high trees and water enclosed, grassy terrain . The behavior of the fog is under direct influence of the local weather; sun, rain and wind all have their influence on the behavior of the fog and experience of the work.

Project Orb[i]s
Orbis is a proposal for a Prototypical System, which is highly adaptive in nature, and creates an urban infrastructure that responds and caters to the changing needs and conditions within the city, by augmenting the everyday experiences and activities. Orb(i)s is a behavioral assembly that establishes the possibilities of a dynamic environment not limited to a building plan; rather, it is autonomous, adaptable, dynamic and self-assembling based on real-time data culminating in a constantly reconfiguring ecology. The sensing abilities of the system make it self-aware and encourage any decision-making, while its self-assembling quality arises from a unit-to-unit communication that leads to a higher order of organizations and structures.

Intagible #Form
In this artwork “intangible #form [2019]”, focusing on how do we see the intangible as tangible using 420 kinetic laser modules. I’ve tried to generate virtual consciousness, presence and behavior of life in this time. And then I’ve been exploring what are we getting the surfacing consciousness and presence from the thing is in front of us or are we giving these to them? I think that when paying attention to consciousness, it could be a trigger to sense that we are human ourself.

Specimen Box

The OCR began work on Specimen Box in 2014 at the request of Microsoft’s Digital Crimes Unit. Microsoft’s Cybercrime Center monitors communications coming from hundreds of millions of PCs around the world that have become infected by botnet malware. Employing data sonification together with advanced visualization techniques, Specimen Box provides a configurable multi-sensory presentation of botnet signal activity in real time. It also features a multitouch gesture-based interface for navigating, exploring, selecting, and examining the billions of signals that have previously been collected. Users can access the collected signals based on their activity levels, the geographic locations of their sources, or their daily activity patterns over time, using clustering to group sources with similar behavior.

n-Polytope: Behaviors in Light and Sound after Iannis Xenakis
N_Polytope: Behaviors in Light and Sound After Iannis Xenakis is a spectacular light and sound performance-installation combining cutting edge lighting, lasers, sound, sensing and machine learning software inspired by composer Iannis Xenakis’s radical 1960s- 1970s works named Polytopes (from the Greek ‘poly’, many and ‘topos’, space). As large scale, immersive architectural environments that made the indeterminate and chaotic patterns and behaviour of natural phenomena experiential through the temporal dynamics of light and the spatial dynamics of sound, the Polytopes still to this day are relatively unknown but were far ahead of their time. N_Polytope is based on the attempt to both re-imagine Xenakis’ work with probabilistic/stochastic systems with new techniques as well as to explore how these techniques can exemplify our own historical moment of extreme instability.

توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
SOLAR BELL
Inspired by Alexander Graham Bell’s lesser-known experiments with flight behavior of tetrahedrons, Berlin-based artist Tomas Saraceno developed Solar Bell – a lightweight, wind and solar powered, sculpture that plays with the concept of flying buildings.

ELECTRIC SKIN

The Electric Skin explores the possibility of creating a wearable that extends the functionality of the skin to sense electromagnetic fields (mostly within the radio spectrum) and translate that information into touch sensation. The wearable consists of two main functional parts: 1) A matrix of omnidirectional antennas that act as sensors and probes and 2) corresponding electrodes that stimulate the skin of the wearer. Through this artificial “skin” or “exoskeleton”, the wearable changes our experience, perception, and understanding of space and movement, and in doing so, our interactions. The project speculates on the possible co-evolution of man and technology and draws attention to the role of environmental influence on our own bodily development and behavior.

MANSAI: Kaitai-Shinsho No.30 Special Edition “5W1H”
5W refers to the five interrogatives; “When, Where, Who, What and Why”, while 1H refers to the interrogative “How”. In this work, Manabe attempts to encode humans’ attitudes to these six enquiry words in an effort to explore the primitive roots of interpersonal expression, and illuminate the fundamental sources of human behavior. By converting such factors into numerical information, while drawing also on analog thinking, the piece is a search for further understanding human nature.
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Planned by Mansai Nomura
Visual Design/Technical Direction：Daito Manabe＋Motoi Ishibashi＋Rhizomatiks Research
Music: Daito Manabe + Hopebox
Cast: Mansai Nomura, Yuichi Otsuki, Mansaku no kai

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.”

Skorpions
LUTTERGILL
Skorpions are a set of kinetic electronic garments that move and change on the body in slow, organic motions.They breathe and pulse, controlled by their own internal programming. They are not “interactive” artifacts insofar as their programming does not respond to simplistic sensor data. They have intentionality; they are programmed to live, to exist, to subsist. They are living behavioral kinetic sculptures that exploit characteristics such as control, anticipation and unpredictability. They have their own personalities, their own fears and desires.

Lasermice
“Lasermice” is a swarm robotic installation that consists of 60 small robots, which inspired by synchronous behavior from insects like fireflies. Normally network of swarm is invisible, But in this case those robots creates visible network via laser light – photodetector communication. As a result, they generates rythme that continuously changing. The generated rhythm is made audible by solenoid which strikes floor. Combination of visible network and audible rhythm are deployed spatially.

After Deep Blue

ADB is a modular robot designed for tactile interactions with people. It is composed of a chain of prism-shaped robotic modules. Through the modules’ coordinated behavior, the robot writhes, wriggles and twists in response to the presence of skin and force. The robot is animated only when actively engaged by a person, otherwise it is at rest. Stroking, rubbing or grasping ADB results in it pushing back, retreating or occasionally grasping onto a body part, depending on the combination of stimulus. Participants may experience the object at their leisure. They can play with the device, exploring how it feels, and how it responds to their touch.

Self-Reflected

Dr. Greg Dunn (artist and neuroscientist) and Dr. Brian Edwards (artist and applied physicist) created Self Reflected to elucidate the nature of human consciousness, bridging the connection between the mysterious three pound macroscopic brain and the microscopic behavior of neurons. Self Reflected offers an unprecedented insight of the brain into itself, revealing through a technique called reflective microetching the enormous scope of beautiful and delicately balanced neural choreographies designed to reflect what is occurring in our own minds as we observe this work of art. Self Reflected was created to remind us that the most marvelous machine in the known universe is at the core of our being and is the root of our shared humanity.

Prehysterical Machine

The Prehysterical Machine has a spherical body and eight arms made of aluminum tubing. It has a sensing system, a motor system and a control system that functions as an autonomous nervous system (entirely reactive). The machine is suspended from the ceiling and its arms are actuated by pneumatic valves and cylinders. Pyroelectric sensors allow the robot to detect the presence of viewers in the nearby environment. It reacts to the viewers according to the amount of stimuli it receives. The perceived emergent behaviors of this machine engender a multiplicity of interpretations based on single dynamic pattern of events.The aim of this project is to induce empathy of the viewer towards a “character” which is nothing more than an articulated metal structure. The strength of the simulacra is emphasized by perverting the perception of the creature, which is neither animal nor human, carried through the inevitable instinct of anthropomorphism and projection of our internal sensations, a reflex triggered by any phenomenon that challenges our senses.
FILE FESTIVAL

“Science,Fiction”

Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. Natural diversity, wildlife, and conservation have been persistent themes in the artist’s work, and she has dedicated herself to an examination of the varied kinds of relationships humans have constructed with animals. While her in-depth studies of ecosystems and animal behavior propose observation as a kind of understanding in itself, her ethical position is implicit in the work, which, while subtly political, provides views of the sublime in all its incarnations—stunning, beautiful, and simultaneously terrifying.

Shame
Shame leaves us helpless in the face of the bad behavior of others. What is more, shame is relational. Maybe we feel shame because of something we have done. But, for us in this moment of seeing ourselves being seen, we realize that it is much more often that we feel shame because of something that someone else has done. We are defenselessly bound to people whose names we will never know only because we have somehow identified ourselves as one of them, at one with them, and the pain of it never ceases.

BACON

He painted the abysses of the human soul: the British artist Francis Bacon. Basic mechanisms of relationships such as desire, domination and exclusion he presented with merciless honesty and painful beauty.
With her piece, Nanine Linning fathoms the emotional cosmos of Bacon`s paintings and detects in their uncompromising depiction an analogy with her own art. With excessive physicality, the choreography explores fundamental patterns of behavior, which blur the line between human and feral bearing by their archaic and merciless nature. From an almost disturbing proximity the spectator witnesses the struggle of the individual for affiliation.At the same time fascinating and disturbing, the piece celebrates its comeback on stage fourteen years after its first release. BACON, which received the »Swan« for the best Dutch choreography, returns with revised choreography and new video- and light design.

BEHAVIOURAL COMPLEXITY

Design Research Laboratory (AADRL) and the experimental design studio Minimaforms examining a behavior-based agenda that engages experimental forms of material and social interaction. Cybernetic and systemic thinking through seminal forms of prototyping and experimentation will situate the work through continued experiments that have manifested since the early 1950s as maverick machines, architectures and computational practices exploring the generative potential of self-regulating phenomena as proto-architectural environments. Through explicit models of interactions, observable patterns and proto-animalistic agency; the research will discuss the capacity of these systems to evolve, adapt and self-structure through computation.

Devil’s Flower Mantis
“Ten years ago I decided to change my field of research to one that is more in tune with my naturalist’s interests. Neurobiology is the study of cells of the nervous system and the organization of these cells into functional circuits that process information and mediate behavior. Insects, having a relatively simple and hence easier to study, nervous system, are commonly used as models, the premise being that on the most basic level of relatively simple neuronal networks we have a lot in common. It was my extracurricular expertise in invertebrate anatomy and macro photography that made the transition possible.”

POF 51
Fabrice Hyber sets out to examine the way we communicate and mimic the endless affinities between ideas. What interests Hyber is engaging people with everyday life to invent new modes of behavior. In his mental spa with Faust, he deploys one of his POF’s (Prototypes d ‘Objets en Fonctionnement, created between 1991-2012) to interpret and resolve the complexity of reality by constantly searching for possible, or impossible, hypotheses, a kind of activism to explore endless possibility and infinite variations for art-making.

gookeyes
Timothy graduated, with high honors, from Wesleyan University, having majored in Neuroscience and Behavior, Studio Art (with a concentration in drawing), and Biology (Developmental). Originally intending on attending medical school after graduation in hopes of becoming a physician, Timothy quickly dropped this ambition upon realizing his true passions, which lay in art. However, the impression from years of scientific training is clearly visible in the way he approaches his artwork.

Phonotube
Phonotube are experimental instruments for live audio visual performance, constructed as Luminous instruments and sound sequencers, that use fluorescent lamp tubes and LED strips, as light sources. The tubes are covered with negative ofsset, printed with sound patterns that spin at variable speed. The oscillation from the light emitted by these patterns is transduced to sound, processed by light excitation, a variety of electronic circuits as pre-amps with photo-cells and phototransitors, voltage control oscillators, relays, Filters, 1bit attiny85 micro controler. The technological principle is based on the photophone, patented by Graham Bell and inspired by audio visuals experimenters as Norman Mclaren,that used the optical sound technology of Film. In the history of the invention of electronic sound instruments, the study of light and its behavior as a particle or wave, and its application to sound processes, had a relevant position and is currently, one of the areas of scientific research with the greatest potential in human communication.

Aoife Wullur designs work that discusses technical transparency, authenticity, and human experience. Essentially, it is conceptual design with a technological touch. Wullur’s work takes a close look at our rapidly growing tendency to surround ourselves with all kinds of devices that we do not understand technically even though we use them on a daily basis. In response, she has created what she calls ‘Slow Electronics’, an approach that reflects on our behavior and shows the sensibility and beauty of technical transparency in design. For her SHADES OF LIGHT and LIGHT DIVIDER project, she has developed a new way of interweaving electronics and fabric.

emerging colorspace
Julian Adenauer and Michael Haas
Emerging Colorspace was a robotic drawing installation, realized by the Berlin based duo of artists, designers and inventors Julian Adenauer and Michael Haas, aka Sonice Development, as part of the Red Never Follows exhibition the Saatchi Gallery in London last summer. A new version of the studio’s Vertwalker, a machine with the ability to move on vertical surfaces, walking on buildings, and crawling on interior walls. The machine autonomously applied paint to the wall using a marker, referencing the vertical streets in Minority Report, the flying cars in Bladerunner and 5th Element, or Spiderman, the Silver Surfer and the Green Goblin – just to name a few sources of inspiration that expressed the supernatural. Thousands of lines drawn with different colors gradually formed an increasingly dense colorspace that emerged during the more than 200 exhibition hours, while the wandering behavior of the machine followed simple algorithmic rules with random elements. The result was a web that constantly changed, and never looked the same, exploring new territories and the future in a way ordinary mortals can’t.

Protest

“Protest” is from the project, “Misbehaving: Media Machines Act Out”(2002-2007), a series of mechanical girls’ legs, each with their own prescribed and programmed behavior. In each tableau, an electronically controlled, mechanical being protests with a voice of erratic physical gestures and projected video imagery. As a combination of robotics and performance, they represent girls who disobey or resist expectations. Unlike machines designed for perfect job performance, these machines will declare their fallibility, impatience, approval, and disapproval through small gestural acts. In these tableaus of protest and transformation, the machine is spirited, emotional, thoughtful, and irregular. “Protest” consists of aluminum, mechanized pairs of 6 year-old girl’s legs fitted with shoes and standing on a table top. An electronic circuit and proximity sensors make her responsive to the presence of viewers for whom she stomps loudly and erratically

1024 ARCHITECTURE

FILE FESTIVAL

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 and density.

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.

カロリナ・ソアベッカ
Каролина Собечка
sniff
File festival

Karolina Sobecka is a Polish artist that works with animation, design, interactivity, computer games and other media. Her work often engages public space and explores ways in which we interact with the world we create. Sniff is an interactive projection in a storefront window. When motion is detected along the sidewalk in front of the display, a virtual dog appears and responds the person’s behavior and gestures. The passerby’s movements are tracked by a computer vision system, and the dog behaves differently depending on how he is engaged. Like a real canine, big swift actions are interpreted as threatening, while slow and friendly actions directed to him are interpreted as friendly. He tracks and remembers the attitude of the viewer and forms a relationship with them over time based on the history of interaction. Depending on the nature of the relationship, he may bark, growl, roll over or even play fetch.

SPACIAL SOUNDS

Spatial Sounds (100dB at 100km/h) is an interactive installation that is capable of very intelligent behavior. Not only can the arm spin quickly or slowly, it can also make very well-defined movements in both directions. On the one hand, Spatial Sounds (100dB at 100km/h) lives a life of its own; on the other, it reacts very directly to the people in its space. The sensor can detect how close the visitors are and where they are in relation to the arm. When the installation scans the space, it makes inspecting movements and generates sounds that symbolize this scanning. It produces remarkably short, loud pulses and ‘listens’ to the reverberations from the empty space. The pulses combine different frequency ranges and rhythmical patterns. When visitors enter the room, they are detected immediately. The installation reacts in both a musical and a gestural way. The sounds relate directly to both the position of the arm and the dynamic ‘map’ of the space and the visitors. These sounds are very physical. For example, when the speaker is pointing at someone, it will generate a specific sound. This is also the case at high speeds and with several people in the room. However, the sounds and movements of the arm also tempt visitors to move around. Different locations in the space represent different sounds, as does the distance of the visitors to the rotating arm.

Nature gives us a lot of examples of complex behavior emerging from the interaction of many individuals. The members of an ant colony are capable of a wide variety of complex behaviors: finding and transporting food, constructing elaborate underground complexes of tunnels and chambers, defending their territory from invaders.

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.

卡斯滕·奥莱
Карстен Хеллер
Aquarium

Aquarium proposes the direct contemplation of the link between the human being and the animal kingdom far from any anthropocentric perspective. For this, the artist arranged a fish tank with three holes underneath, so that the spectators could notice – lying down – the behavior of aquatic life from another point of view, influenced by the hypnotic pattern created by the fish in the water. The public, being “submerged” and exposed only to what they can see inside the tank and the sounds that can seep in from the outside, are immersed in a separate reality.

Drama House
File Festival
“Drama house” is a house when the simple ring at the doorbell can have unpredictable consequences; event, one is stranger then another and in the same time all, what happens with habitants belongs to everyday life. Sometimes these circumstances are a little bit exaggerated. Spectator stands in front of low fence with a door-gate. There are 8 doorbells on it. The act of ringing provokes an action in an apartment window. Based on chance and the choices that viewers make, the project explores the contemporary trends in the construction of a narrative and the interplay between diverse informative sub-layers effected through the impact of digital, non-linear media. It also questions the very process of story telling and at the same time considers the way of audience reading. It investigates the differences of individual and collective perception. In other words, the sequence and choices that each viewer selects reflect his own perspectives and behavioral patterns, thus makes the viewer much more than an active participant. By interacting with the installation the viewer is engaged in the creative process: re-telling the ever-changing story through the utilization of the primary capability of the digitization: reshaping the information. Therefore, each participant walks away with a unique, slightly different vision, each shaped according to his own choices and directions. Interactive media and the digital environment of the DH and its narrative function through a recognizable metaphor that makes access to the information meaningful: a house as a conceptual society model and an apartment as a private space. This reference transforms the objects and stories in the project into the metaphors and reminds us of the art cultural function: as a site of memory of the social collective imagination and as a site of representation and power.

Comprised of hundreds of translucent panels and shape-memory wire, Reef utilizes an interface fed by an RGB camera and special software to create an installation that responds to its audience. Choreographed in curling combinations that express both mechanical and natural examples of motion, the work physically reacts to a range of programmed criteria. Criteria can vary from simply the location and proximity of a participant to qualities such as the color of clothing, or whether participants are alone or in groups. The result is an animated environment which explores behavioral possibilities within soft, fluid motion and interaction. Once passive viewers are transformed into engaged users through this dynamic platform, which amplifies the relationship of inhabitants to their built environment.