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 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 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 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 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

frequencies (light quanta)

The project is part of an ongoing process entitled «frequencies», exploring basic sound and light dichotomic systems. Here, frequencies (light quanta) stems from a fascination towards science, light, and granular synthesis allowing to create clouds/grains of sounds. The conceptual focus lies in the quantum — the smallest measurable value of energy —, on the smallness of matter. The whole project is based on the possible conceptual relationships between basic quantum physics principles applied to the audio-visual creative process: particles, probabilities, wave/particle duality and discontinuity. Metaphorically structured around these notions, the audio-visual composition stems from 100 sound and light micro-sequences that develop themselves, generating an ever expending but yet disruptive form in time and space. With the use of randomness, the vectorial graphics are always creating new ways to look at the visual, physically superimposing pattern images.

“6 Sided Plane in 5 Masses and 3 Scales with 2 Free Regions
The drawings also clarify the schema underlying the locations of the bored holes in the sculptures. Situated along lines linking vertices at the perimeter of the forms, they recall constellation maps or, as with 8 Sided Plane in 7 Masses and 2 Scales with Free Region (1975/2018), the plans of Romanesque cathedrals. Here, again, the relationship is inverted. The black shapes representing the solid stone columns in the plans echo the shafts of air bored through the steel. The term “Romanesque” appears frequently in Rabinowitch’s titles. Though absent here, the conglomeration of shapes visible in Romanesque church plans, like those of Cluny in France, bear an affinity with the additive sensibility evident in Rabinowitch’s structures. Donald Kuspit has focused attention on the artist’s interest in Northwest Coast traditions, especially the totem pole. Like the totem pole, Rabinowitch’s works manifest a “disrupted continuum,” a whole built out of distinct parts. For me, the presence of the drawings in this exhibition subtly undermined that assertion. The lines along which the bored holes are situated form a network that passes over all (or at least most) of the components in each work, in effect linking them. Though no longer visible in the steel versions, the connective links act as a reminder of this second related principle of organization. Some may see it as a complication, a discrepancy, or be disappointed by the realization, but I think it helps demystify these “new” early sculptures. At the same time, the proximity of the studies by no means diminished the deep-rooted and intriguing complexity of Rabinowitch’s sculptural work.”John Gayer

Difference and Repetition
The title references Deleuze’s thesis ‘Difference and Repetition’ – his attempt to understand reality without referring to identities. The artists aim to ‘unidentify’ the audience – to criticize the bubbles of reality which technology has helped us to build around ourselves. By allowing ourselves to remove our identity occasionally, we can better understand the thoughts of those we disagree with and therefore better work together to build a combined reality. Difference (in both senses) is generated by the motion control system which continuously changes the pose of the mirrors relative to the viewer. This movement disrupts space itself, creating a transformation similar to that of a Lorentz transformation when one travels close to the speed of light. This causes space itself to compress, twist and break, giving the viewer a tool for observing the non-absolute nature of time.

Interference Fit Canyon
“by Maya Alam uses an entropic drawing process to capture the coalescence of solid and fluid states of matter within a single object. The drawing is comprised of contours that delineate a cube with hard edges that appear to be soft from particular vantage points and soft edges that appear to be hard from others. These contours are mapped back onto the cube geometry in a transitional process whereby the legibility of the cube becomes progressively more inscrutable. The drawing process parallels the effects created by the presence of a cubic object within the L.A. River that disrupts the flow of water and accentuates the presence of detritus. A process of continual erosion acts differentially on the object over time, transforming its appearance and performance in relation to water flow”. Marcelyn Gow

Abyss of Light

Abyss of Light is divided into three screens and into three acts, the traditional structure of classic narrative film. In the first act, all the images synchronize to form a single panorama of Bryce Canyon in Utah. In the second, the screens break away from one another into three parallel sequences wherein each projection shows the same one hundred images at different speeds. In the third, all three images synchronize once again to form a single wrapping panorama of Death Valley, California. The work is an ode to the American western, one of my favorite film genres. Despite my admiration, however, my desire is not to imitate westerns. Instead, I set up an abstraction in opposition to the idea of narrative, something that can be seen in all of my work. In Abyss of Light, continuous disruptions of the American landscape document my refusal to see the land as backdrop for man’s heroic conquering of the wild; instead I see it as a foreground, a subject to be contemplated for itself and for which wildness is a state of grace.

IT’S A GAME FOR US
“How do we perceive mistakes and flaws and how important are those for us?” Barbora asks herself. “When a human being experiences and errs, they create a protective immunity for similar upcoming events, which they will, hopefully, solve better. Therefore, through these fashion pieces, I tried to communicate something that disrupts our personal comfort. Although we might not be fans, we need such disruptions because they push our comfort zone further and make us feel better in the long run.” Barbora Kotěšovcová

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…

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.

The Splits (Rehearsal)

The Splits begins with the bisecting of various string instruments into two halves, cutting them along their length, creating two separate instruments. The two halves must then be played together to complete a tune and are, thus, for duets (or quartets, octets or dectets) only—pieces which she is creating in collaboration with musicians and composers. The act of splitting at once destroys the integrity of the instrument as an object, and disrupts the conventional process of aesthetic creation that the instrument traditionally permits. Splitting is not merely an act of destruction, however. Instead, it opens graceful passages for imagined evolution: the split instrument becomes a newly creative instrument, permitting the creation not only of new music, but new communities (visual artist, the composer, the musicians, and the audience). Ms. Benson has “split” two violins, a viola, cello and double bass: all, cheap, mass-produced string instruments made in China.