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S E T U P is a stage design and lighting design international studio founded by Znamensky Dmitry, Novikov Stepan and Zmunchila Pavel. The studio works in the field between contemporary art, lighting design and programming with a mission to explore the expressive opportunities provided by new digital technologies. S E T U P aims to create installations and multimedia works that can sharpen the physical perception of the environment and help explore more possibilities of image manipulation. Our creative product is high-tech multimedia work, concepts and laser installations. Our studio is open for experiments and is ready to cooperate with various artists to find the right visual interpretations for their work.

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.

Frame Perspective
Measuring 30m x 30m x 2.4m and featuring LED lights and 8 audio channels, Frame Perspective transforms a cavernous space at the Maison de la Région. On specific dates throughout the Constellations festival Ratsi has prepared a light programme in the space, accompanied by a sound composition played by Thomas Vaquié (see the festival programme for more details). Frame Perspective continues Ratsi’s interrogation of reality through the creation of exploratory and peripheral spaces. The installation’s repeating forms create new dimensions in the Maison de la Région, interrupting the lines of the architecture. Meanwhile the composition of interacting lights and sounds disrupts the sonic and visual textures of the space and resonates with the visitor on uncharted frequencies. The effect is to immerse the visitor into a fluctuating environment which connects digital technologies with physical spaces and raises questions about how reality is constructed and experienced in digital, physical and other realms.

Eggs Are Good For Your Hair
Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?

Me, My Selfie and I
Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?

Coral Column
Close-up examines the impact of digital technologies on the architectural detail and the traditions of tectonic expression associated with it. An often overlooked condition of digital design technologies is the ability to design objects through continuous degrees of magnification. more…

Interactive Chalk Cars
“Interactive chalk cars” is an installation based on a traditional children ́s game, that was originally played on the streets. It uses new digital technologies to review a non-technological game. By using computer vision algorithms and projection mapping, it brings together the real and the virtual. In doing this, we try to combine two playing modes that are usually confronted: the individual video game and the outdoor social game.
FILE FESTIVAL

“Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?”

Immaterials – Data between visibility and invisibility
Christopher Warnow (1982) works as an artist, designer and programmer in Berlin and Würzburg, Germany. He is interested in the hopes and the trust we invest in digital data and – images. In installations, performances and workshops he utilizes generative strategies to examine our enthusiasm towards digital technologies and questions its grounds.

STORM KING PARK
SOMA is an international collective of architects, designers and creatives established in New York. With its focus on incorporating craft, digital technologies and environmental responsability, the firm’s designs and work have attracted critical acclaim for their boundary pushing nature. more…

On Shame
FILE BELO HORIZONTE 2018-DISRUPTIVA
foto: Luiza Ananias
On Shame is part of the series Psychosomatics which was initiated in 2010. In these works Franco makes it possible to tangibly experience such emotions as joy, fear, confusion, happiness or shame by means of digital technologies. Cameras and motion and tactile sensors serve as tools to facilitate the dialogue between humans and machines. more…

delicate boundarie

This interactive installation imagines that the worlds inside our digital devices can move into the physical world. Small bugs made of light crawl out of a computer screen onto the human bodies that make contact with them, often surprising their audience as they try to abandon a virtual existence. The magic of the illusion takes shape as the audience lets them explore their bodies, crawling from one person to the next in a strangely intimate way. As digital technologies have become embedded in everyday life, the line between the virtual and real is increasingly blurred. Delicate Boundaries playfully explores our expectations and understanding of interfaces and interactivity.

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival

July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

Sounding Qubits

FILE 2024 | Quantico
International Electronic Language Festival
Eduardo Reck Miranda – Sounding Qubits – Brazil

Although he has learned classical musical instruments since childhood, Eduardo Miranda’s favorite tool for composing is the computer. The researcher has been delving into artificial intelligence and innovative computing methods for compositing for some time, as they offer fresh insights and ideas beyond his own.

A quantum computer deals with information encoded as qubits. A qubit is to a quantum computer what a bit is to a digital one: a basic unit of information. In hardware, qubits exist in the subatomic world. They are subject to the laws of quantum mechanics.

Quantum computers are like super-powered versions of classical digital computers. While a digital computer processes data in a linear, step-by-step fashion, a quantum computer can explore many possibilities at once.

Operating a quantum computer requires different ways of thinking about encoding and processing information. This is where composers can benefit greatly. This technology is destined to facilitate the development of unprecedented ways of creating music.

Bio

Composer who works at the intersection of music, science and new technologies. His background as an artificial intelligence scientist and classical composer with early involvement in avant-garde pop music informs his distinctive music. He has composed for BBC Radio 3, BBC Concert Orchestra, BBC Singers and Scottish Chamber Orchestra. He is a professor at the University of Plymouth and a research associate at Quantinuum, where he explores music composition with quantum computers.

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

‘SnP’, 2018, recycled plastic, injection moulded

“Widrig’s art breaks down the boundaries between disciplines; borrowing tools traditionally associated with one industry and using them in other fields, in often unanticipated and exciting ways. Widrig uses computer simulation processes and advanced technologies adopted from the special effects business to create sculptural 3D-printed craftwork—digital designs materialize into intricate sculptures in glass or recycled plastic and furniture pieces with impeccable undulated thin surfaces,” Devid Gualandris

Liquid Skin
‘Liquid Skin’ is a visual research towards the changing boundaries between the physical world of the human body and the digital world. By borrowing techniques found in touch screen technologies, but instead of following the cold underlying logic of present day devices, it proposes a situation where this border becomes liquid and sensual with an emphasis on the fluidity of touch and movement. Turning the skin itself into a medium of visual expression without the constraint of the technical grid.

Get Life/Love’s Work
This new project focuses on the ways bodies and technologies are intertwined, particularly in the field of digital communication and telepresence. As always in Atkins’s work, technology is analyzed as a theoretical and even allegorical interrogation of itself, rather than in any literal terms.

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.

Remains Series
Video is one of several ways Quayola explores his relationship with the world—and he has a mesmerizing way of undercutting reality while celebrating it. During Miami Art Week, Quayola premiered “Promenade,” a 4K drone-shot film of impeccable beauty. Commissioned by Audemars Piguet, the work winds through and above the forests of the Vallée de Joux, Switzerland near the brand’s historic watchmaking facility. In waves of interconnected footage, it translates documentation of the landscapes into digital art drawn from various technologies. It succeeds in a deep dissection of form.

Nadi Generative Art
Nadi is a Digital display of Kinetics and Energetics of Body Movements involved in Yoga. The visuals are created by investigating the flow of data, using the human body as a vehicle. With the support of computer vision technologies, a visual trail is formed by tracking the body movements during yogic postures. Inspired from Indian Yogic Science, we have visually depicted aspects of light, matter and energy in our forms. The generative nature of the visual comes from the digital juxtaposition of the poses that the body generates with each pose.

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.

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

moving in concert
Moving in Concert imagines a universe where humans, technologies and natural materials coexist to create an abstract set of movement. Inspired by how bodies are sensorially affected by living in a digitalized world, the performance explores a poetics of plasticity, abstraction and imagination.

Luftraum
In 2016, Dirk Koy founded the studio for motion design and experimental film «Dirk Koy Bild und Bewegung». In his work, he uses different technologies (drones / 2D and 3D animation / photogrammetry / AR / VR) to create moving digital images. He investigates the interface between reality and virtuality and is also looking for the painterly component in the digital context. The Experiment plays a central role.

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

Internal Collection yellow silk dress based on ligaments
Merging anatomy, fashion, and technology, each piece is created by hand and digital manufacturing technologies. By depicting designs inspired by anatomy, this work communicates that, when we share our likeness and what is going on inside of us, an opportunity is offered for finding beauty within ourselves and connection with others.

Google red marble

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

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

Geoffrey Lillemon brings a classic romantic painting and drawing style to technology to reinterpret artistic practice. As one of the leading artists in digital practices, Lillemon has consistently foregrounded the interplay between the digital and physical world in his work, blending the traditional mediums with emerging technologies. This had lead to personal and commercial work which is recognized as contemporary art.

Internal Collection
FILE SAO PAULO 2017
Internal Collection
Switching up conventions about the body and beauty, the selections from her “Internal Collection” showing at FILE represent internal anatomy in external wearable form. Merging anatomy, fashion, and technology, each piece is created by hand and digital manufacturing technologies. By depicting designs inspired by anatomy, this work communicates that, when we share our likeness and what is going on inside of us, an opportunity is offered for finding beauty within ourselves and connection with others.

MID AND PLAYMODES
radial and blaus
‘radial’ and ‘blaus’ are two interactive lighting installations, both a result of the collaboration between catalonia-based digital research collectives MID (media interactive design) and playmodes. ‘blaus’ introduces the abstract realm of three dimensional geometry through the mediums of audio and illumination – this could manifest as a cube or a blossoming flower, a grid or a jellyfish, a mutant framework of reflecting lights which submerge the audience into a multi-faceted universe, driven by hidden forces of the architecture. ‘blaus’ is an immersive space where audio-visual elements relate
intimately to impact on the visitor. the process led the designers to build most of the software and hardware elements themselves, by means of algorithm design, digital fabrication techniques and craft handwork. on the hardware side, the use of open source technologies, such as arduino, allowed us to create a flexible electronic system easily addressable by opensound – control data. ‘duration open source software by
james george was used in order to independently control, compose, and play a full score for the laser diodes, servomotors, lights and music.on the sound design side, all music and sound effects are made through the use of audio programming environments such as predate and reactor.
custom digital instruments are made in order to exactly match the resonant frequency of the space and its harmonics.
‘blaus’ is an immersive space where audio-visual elements relate intimately to impact on the visitor.

Glow
Glow is an illuminating 30-minute choreographic essay by Artistic Director Gideon Obarzanek and interactive software creator Frieder Weiss. Beneath the glow of a sophisticated video tracking system, a lone organic being mutates in and out of human form into unfamiliar, sensual and grotesque creature states. Utilising the latest in interactive video technologies a digital landscape is generated in real time in response to the dancer’s movement. The body’s gestures are extended by and in turn manipulate the video world that surrounds it, rendering no two performances exactly the same.