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.

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.

GRAFFITI ANALYSIS
SCULPTURES

Graffiti Analysis is an extensive ongoing study into the motion of graffiti. Custom software designed for graffiti writers creates visualizations of the often unseen motion involved in the creation of a tag. Motion data is recorded, analyzed and archived in a free and open database, 000000book.com, where writers can share analytical representations of their hand styles. Influential graffiti artist such as SEEN, TWIST, AMAZE, KETONE, JONONE, and KATSU have had their tags motion captured using the Graffiti Analysis software. All tags created in Graffiti Analysis are saved as Graffiti Markup Language (GML) files, a new digital standard used by other popular graffiti applications such as Laser Tag and EyeWriter. Graffiti Analysis 3.0 is an open source project that is available online for free in OSX, Windows and Linux. Graffiti writers are invited to capture and share their own tags, and computer programmers are invited to create new applications and visualizations of the resulting data. What Martha Cooper did for archiving graffiti on film, and Chalfant/Silver did for archiving graffiti in video, Graffiti Analysis intends to do for archiving graffiti in code. The project aims to build the worlds largest archive of graffiti motion, and bring together two seemingly disparate communities that share an interest hacking systems, whether found in code or in the city.

Deep Field

Tin&Ed

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Installations
Electronic Language International Festival

Deep Field – United States

An augmented reality experience where visitors draw fantastical plants that instantly bloom into immersive 3D structures within the space. As people contribute their creations, a collective digital landscape begins to take shape. Layers of recordings of endangered, extinct, and elusive species compose a responsive and evolving soundscape, developed by The Listening Planet.

BIO

Tin & Ed are New York-based artists whose work explores the interconnection of life across biological, geological, and cosmic systems. Through speculative world-building, they reveal connections that transcend human time, spatial boundaries, and sensory thresholds. Their practice spans sculpture, immersive and interactive installations, creating environments that invite audiences to shift perspective and inhabit the world beyond the limits of human perception. Technology is not used as spectacle, but as a perceptual tool that makes the invisible felt and the distant intimately present.

Piano
Iwai’s Piano — As Image Media (1995), a later sound work, is related to these early interactive experiments. Here the user, seated at the piano, triggers a flow of images that depress the piano’s keys; a consequence of this action releases yet another flight of images. The resulting interactive installation synthesizes two different aesthetics: sounds (simple melodies), images and a mechanical object (the piano) with digital media. A projected score and computer-generated imagery transform the piano into image media, hence the work’s name. Sound is the triumphant component in these works, for it activates and shapes the visual work. But the visual aspect of Iwai’s installations is lovely. His interactive systems appeal to the creative impulses of adults and children alike with their celebration of animation, computer potential, and the joy of sound.07

Great Chain of Being
FILE FESTIVAL
The great chain of being, an ancient philosophical concept, attempted to explain the structures and relationships of the world as a form of hierarchy or set of strata. This philosophical idea is here expressed in the form of the entities that constitute the contemporary world. The philosophers of the past believed that the structure of the world had at its top a god, and that beneath there were angels, animals, plants, and elements. But this conception of the world, as a result of the changes in civilization and culture, resulted in the elements that constitute the world undergoing a transition and sustaining an unforeseen hierarchy. The works of art depict the contemporary structure in the form of robots, machines, people, animals, and virtual or digital entities. Within virtual systems, these entities undergo a process of creation, arrangement, use, disposal and recycling, through which they emerge and disappear. The work depicts the stories emerging from these processes, against the background of a systemically designed landscape akin to a factory.
video

sanctum
Zach Blas（United States、1981）の作品は、テクノクラート社会の限界と基盤を描くことを目的として、視覚言語の慣習、価値体系、デジタル技術に内在する力のダイナミクスをさまざまな文脈で分析、調査、配置しています。 。 彼の分析とデジタル文化への反映のために、彼は映画、彫刻、執筆、パフォーマンスなど、さまざまな表現形式を使用しています。 ブラスはブラックユーモアと理論的研究に取り組んでおり、彼の最も顕著な影響の中には、神秘主義の伝統、サイエンスフィクションのジャンル、ポップカルチャー、クィアの美学があります。

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sanctum

The work of Zach Blas (United States, 1981) analyzes and explores the dynamics of visual language practices, value systems, and the forces inherent in digital technology in a variety of contexts, with the aim of depicting the limits and foundations of technocratic societies. I have placed it. .. For his analysis and reflection in digital culture, he uses a variety of forms of expression, including film, sculpture, writing and performance. Brass works on black humor and theoretical research, and among his most prominent influences are the mystical tradition, the genre of science fiction, pop culture, and the aesthetics of queer.

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.

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.

Vanishing Places
Vanishing Places is an audio-visual installation that investigates dialogues and tensions between the real and artificial. In keeping with the studios recent experiments with real-time generative visuals, Vanishing Places brings a new iteration of the intersection of digital life-simulating systems and organic interaction.

Digital Substance

The parametric technology allows to generate a self-organizing system, that is, to open the essence of the universe as an infinite variety of possible self-organizing systems. The world is in constant process of self-development, but it is not chaos and not a set of known forms (cube, sphere, cylinder, from which you can build everything as Cezanne believed). Everything in the world (in the physical, biological and other reality) is in fluid, flexible, flowing, accelerating and decelerating movements that create tension, tears, force fields. And they are amazingly beautiful (attractors and fractals are their individual symptoms) and they exist before form and after form. It is not a solid, or lines in a space, but something that stands before and after the space.

アンドレアス·ニコラス·フィッシャー
أندرياس نيكولاس فيشر
Brute Force Method
Andreas Nicolas Fischer (*1982, Munich, Germany) concerns himself with the physical manifestation of digital processes and data through generative systems to create sculptures, videos, prints and installations. He holds an MA from the Berlin University of the Arts, where he studied in professor Joachim Sauter´s class. The artist lives and works in Berlin.

アンドレアス·ニコラス·フィッシャー
أندرياس نيكولاس فيشر
Brute Force Method
Andreas Nicolas Fischer (*1982, Munich, Germany) concerns himself with the physical manifestation of digital processes and data through generative systems to create sculptures, videos, prints and installations. He holds an MA from the Berlin University of the Arts, where he studied in professor Joachim Sauter´s class. The artist lives and works in Berlin.

100% Other Fibres
Through collisions of image, noise, objects, language and bodies, Heather Phillipson’s videos and sculptural installations behave as places, musical scores, poems and nervous systems – attending to how physical and affective ‘selves’ are constructed, manipulated and, above all, escape. Often rendered as walk-in conglomerations of readily accessible materials (digital images, paint, cardboard, words, audio loops and reproducible consumer detritus), her works stake out an ambiguous territory in which cultural references and emotional responses are mutually contingent and reactive. Collapsing distinctions between the forthright and the inarticulable, the banal and the ecstatic, and between metaphor and extreme literalisation, Phillipson’s work performs constant tonal shifts, disruptions and bleeds. In so doing, it oscillates between physical intimacies and conceptual distances – desire, sensuality, touching and being touched, shame, anxiety, (over-)exposure, resistant surfaces.