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

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

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

HYSTERESIS

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Robert Seidel – HYSTERESIS – Germany

HYSTERESIS intimately weaves a transformative fabric between Robert Seidel’s projections of abstract drawings and queer performer Tsuki’s vigorous choreography. Using machine learning to mediate these delayed re-presentations, the film intentionally corrupts AI strategies to reveal a frenetic, delicate and extravagant visual language that portrays hysteria and hysteresis in this historical moment.

Bio

Robert Seidel is interested in exploring abstract beauty through cinematic techniques and insights from science and technology. His projections, installations and award-winning experimental films have been presented at numerous international festivals, art venues and museums, highlighting his innovative approach to visual art.

Credits

Film: Robert Seidel
Music: Oval
Performer: Tsuki
Graphics: Bureau Now
5.1 Mixing: David Kamp
Support: Miriam Eichner, Carolin Israel, Falk Müller, Paul Seidel
Financing: German Federal Film Board

Spring/Summer 21
The spring 2021 collection reflects that mentality, and highlights the more commercial offerings of the brand, which are normally buried underneath his over-the-top runway styling. Carryover styles — such as quilted jackets, padded vests, parkas, shirts and hoodies with cutout hole and lace trim details — are available in pine green, beige, raisin purple, and midnight blue, and take center stage in the look book. Even Green’s signature frame-like constructions around the body have been toned down. Instead of using experimental and colorful materials, Green has hung deconstructed parts of a shirt or a jacket on metal frames. The effect is of two people interacting in one sculpture.

简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
dance
Мерс Каннингем
Paul Kaiser
Shelley Eshkar

Dancer Matthieu Chayrigues

Compagnie Centre National de Danse Contemporaine-Angers.

Photo: Charlotte Audureau.
BIPED

“Ever the experimentalist, Cunningham collaborated with digital artists Paul Kaiser and Shelley Eshkar using motion capture technology to create BIPED. As the name suggests it’s in its most basic sense an exploration of the biped, the ambulatory two-legged body.
Eshkar and Kaiser place a scrim in front of the dancers on which they project a moving décor of lines and patterns.” Lisa Traiger

Espace aérien
En 2016, Dirk Koy a fondé le studio de motion design et de film expérimental «Dirk Koy Bild und Bewegung». Dans son travail, il utilise différentes technologies (drones / animation 2D et 3D / photogrammétrie / AR / VR) pour créer des images numériques en mouvement. Il explore l’interface entre réalité et virtualité et recherche également la composante picturale dans le contexte numérique. L’expérience joue un rôle central.

Swing Time

SWING TIME est un espace de jeux interactif composé de 20 balançoires en forme d’anneau lumineux. L’installation active un parc temporaire entre le Boston Convention and Exhibition Center et D Street pour créer un espace public expérimental. Fabrication sur mesure à partir de polypropylène soudé, les balançoires sont conçus en trois tailles différentes de sorte que les spectateurs peuvent participer, le but de l’exercice, est de jouer avec SWING TIME à titre individuel ou en groupe.L’éclairage LED au sein de la balançoire est contrôlé par un micro-contrôleur personnalisé, signalisant le niveau d’activité de la balançoire. Un accéléromètre interne mesure les forces d’accélération de l’oscillation. Lorsque les forces sont statiques et les fluctuations ne sont pas utilisés, ils émettent une lumière douce, blanche qui éclaire la zone. Lorsque les balançoires sont en mouvement, le micro-contrôleur allume la lumière du blanc au violet, en créant un effet lumineux coloré.

Hora do balanço
Hora do balanço é uma espaço de jogo interativo composto por 20 balanços leves em forma de anel. A instalação ativa um parque temporário entre o Centro de Convenções e Exposições de Boston e a D Street para criar um espaço público experimental. Feito sob encomenda em polipropileno soldado, os balanços são projetados em três tamanhos diferentes para que os espectadores possam participar. O objetivo do exercício é brincar com a instalação individualmente ou em grupo A iluminação LED dentro do swing é controlada por um microcontrolador personalizado, que indica o nível de atividade do swing. Um acelerômetro interno mede as forças de aceleração da oscilação. Quando as forças são estáticas e as flutuações não são usadas, elas emitem uma luz branca suave que ilumina a área. Quando as oscilações estão em movimento, o microcontrolador muda a luz do branco para o roxo, criando um efeito de luz colorido.

Jardín de Russolo
“Jardín de Russolo” es una instalación de sonido interactiva de Yuri Suzuki que permite a los visitantes tener una experiencia sonora utilizando su propia voz. La instalación auditiva, que se muestra en el V&A durante el festival de diseño de Londres de 2013, se basa en la serie anterior de “máquinas de ruido blanco” de trabajo activadas por sonido de Suzuki. Influenciada por el pintor y compositor futurista Luigi Russolo, uno de los primeros compositores experimentales, la serie de cajas de madera con forma de fonógrafo componen la exposición, reinterpretando las entradas de audio en una salida atmosférica amortiguada, retorciendo y amplificando las bandas sonoras originales.

speech – speed

С 1984 года Миша Кубалл (* 1959 в Дюссельдорфе) работает в общественных и институциональных пространствах. Он получил заметные награды и стипендии, а с 1991 года преподает в различных университетах и ​​художественных школах. 1999/2000 он был приглашенным профессором Академии визуальных искусств в Лейпциге, работая над темой света и пространства, с 2004 по 2008 год преподавал медиаискусство в Университете искусств и дизайна Карлсруэ. С октября 2007 года он был профессором медиаискусства в Академии медиаискусств Кельна и основал там «-1 / MinusEins Experimentallabor». Используя средство света – в инсталляциях и фотографии – он исследует архитектурные пространства и вносит свой вклад в социальные и политические дискуссии. Он отражает различные грани культурных социальных структур вплоть до архитектурных вмешательств, которые либо подчеркивают, либо перепрограммируют характер и архитектурный контекст. В политически мотивированных и совместных проектах общественное и частное пространство пересекаются. Они делают возможным общение между участниками, художником, произведением искусства и публичным пространством.

Compression de densité
Avec Density Compression [2020], Fujimoto tourne son attention vers les comportements fondamentaux de la lumière visible, en se concentrant sur les lignes droites et la réflexion. En représentant la lumière comme un réseau dense de lignes voyageant dans un espace limité, l’artiste rend la lumière comme un objet physique, lui permettant d’explorer et finalement de changer son comportement de base. La pièce est accompagnée d’une partition atmosphérique du compositeur expérimental et affilié de Raster-Noton Kyoka.

HELL_TREE

Petra Cortright est une artiste Internet qui réalise des vidéos, des animations gif et des images fixes. Sa page d’accueil ressemble à une page html datée avec un tas de smileys et une liste de son travail: travail authentique, expérimental et nostalgique avec beaucoup de paillettes, d’étincelles, de collages et de personnages faisant des images. Tout au long du site Web, il y a des animations de souris amusantes, par exemple des étincelles qui suivent votre pointeur lorsque vous vous déplacez sur l’écran. Une autre chose intéressante est un cadre qui est attaché à votre pointeur afin que vous puissiez placer le cadre sur un portrait. Cortright a étudié à la Parsons School of Design de New York et au California College of the Arts de San Francisco. Aujourd’hui, elle vit et travaille en Californie. Elle a exposé à l’international dans des galeries telles que Gloria Maria Gallery (Milan) et Spencer Brownston (New York) entre autres. Récemment, Cortright a exposé avec sa série SO WET à la Preteen Gallery de Mexico.

Napoleon

Kevin Brownlow’ restoration

Gance embarked on his greatest project, a six-part life of Napoléon. Only the first part was completed, tracing Bonaparte’s early life, through the Revolution, and up to the invasion of Italy, but even this occupied a vast canvas with meticulously recreated historical scenes and scores of characters. The film was full of experimental techniques, combining rapid cutting, hand-held cameras, superimposition of images, and, in wide-screen sequences, shot using a system he called Polyvision needing triple cameras (and projectors), achieved a spectacular panoramic effect, including a finale in which the outer two film panels were tinted blue and red, creating a widescreen image of a French flag. The original version of the film ran for around 6 hours. A shortened version received a triumphant première at the Paris Opéra in April 1927 before a distinguished audience that included the future General de Gaulle. The length was reduced still further for French and European distribution, and it became even shorter when it was shown in America. Napoleon is a silent film directed by Abel Gance, dramatising the youth and early career of Napoleon Bonaparte. Its most complete screening, said to be nine hours long, took place in Paris in 1927 – but this version was subsequently lost. British film-maker Kevin Brownlow saw a version as a schoolboy and subsequently restored the film to close to its original length from various prints. His restoration was first shown in London in 1980 with a score by Carl Davis.

Supernova
Supernova is an experimental 4K art film directed and designed by Maxim Zhestkov and made in Zhestkov. Studio Everything around and inside us was conceived in a huge explosion of a star billions of years ago… and, probably, recycled from other matrices myriad times. In this eternal carousel of matter, particles gather, form complicated structures and then burst into all directions fusing atoms together and producing new elements and points of view, new colours and patterns of perception.

Density Compression
With Density Compression [2020], Fujimoto turns his attention towards fundamental behaviours of visible light, focusing on straight lines and reflection. By representing light as a dense network of lines travelling in limited space, the artist renders light as a physical object, allowing him to explore and ultimately change its basic behaviour. The piece is accompanied by an atmospheric score from experimental composer and Raster-Noton affiliate Kyoka.

尤里铃木
يوري سوزوكي
Garden of Russolo
‘Garden of Russolo’ is an interactive sound installation by Yuri Suzuki allowing visitors to have a sonic experience using their own voice. The auditory installation, shown at the V&A during the 2013 London design festival, is based on Suzuki’s previous series of sound-activated work ‘white noise machines’. Influenced by futurist painter and composer Luigi Russolo – one of the first experimental composers – the series of phonograph-like wooden boxes compose the exhibition, re-interpreting audio inputs into a muffled atmospheric output, twisting and amplifying the original soundtracks.

Self Luminous 2 – Unbalance
Self-luminous 2 is an experimental handmade instrument shown as performance. It is a series-project which I have been working on since 2013 and finally developed into shape in 2014. I am looking for intimate and personal instrument that reflects on the relation of digital sound and light message. In computer language, light on is 1 and light off is 0. If more than 2 lamps, it could be code or readable possibility by the meanings. When I press the button or turn the knob, the message will be sent to Pure Data, and the sound will be triggered in live by Pure Data.
The Data of sound such as frequency and volume, are analysed and sent out to the second Arduino to control the light. The light, in thus case, is an intuitive element for human beings. From this point, it is really close to sound which disturbs our biological body directly. The lights are visualised and they can be transferred the into messages. The message might be readable by coincidence with the link to the code. The light is bright enough to let audience to have persistence of vision in mind. During the performance, the sound will be reproduced by code and part of it is impromptu.
.

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.

file sao paulo 2018
“Outrospectre” is an experimental proposal for a medical device aimed at reconciling people with death through simulating out-of-body experiences. In healthcare the majority of efforts and research focus on keeping people alive. The fear and experience of death is a mostly neglected topic. Recent (para) psychological research, however, suggests that the sensation of drifting outside of one’s own body using virtual reality technology could help reduce death anxiety. “Outrospectre” explores the possible application of these findings in hospital surroundings where it could help terminal patients accept their own mortality with more comfort.
This project investigates unanswered questions about mortality and ‘end of life’.

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.

PUNK’S NOT HEAD
The “Pilot” is a mask made from glass, porcelain, metal and leather. This experimental piece exists in a male and female version. It has been created exclusively for the TUSH issue 4/2012..

Graduate of the Danish school of design and the Central Saint Martins College of Fashion and Textile in 2000, Isabel Berglund, having already exhibited around the world, is now one of the creative artists who makes use of knitting in contemporary art. Using knitted wool to create sculptures, she creates archaic memories with the mesh, sometimes incorporating clothing fragments so you can curl up in the sculptures and experience the inside. An experimental space where human and material boundaries merge in a knitted web of emotion, her work puts the poetic insight of a child at our fingertips.

Since its founding in 2008, TAO Dance Theater has taken China‟s dance world by storm. The company has performed in every modern dance festival throughout the country and has collaborated with leading Chinese artists across genres including theatre, experimental music, film, visual arts and installation. TAO has been featured in performances as well as choreography and teaching residencies in festivals worldwide, including Europalia (BE), Culturescapes (CH), M.A.D.E. Festival (SE), Singapore Arts Festival, and the American Dance Festival (US).

Pauline van Dongen researches the body in a technologically textured space. After graduating from ArtEZ, Academy of the Arts in Arnhem, the Netherlands, she started her own womenswear label in 2010. Pauline operates a meticulous research of the behaviour of experimental and high-tech materials, combining new technologies with traditional techniques to constantly renovate craftsmanship. Working closely with companies from the field of science and innovation, Pauline aims to merge fashion and technology giving life to scientific creations.

wearable solar

There is nothing natural in nature; technology makes our humanness giving form to our surroundings. The human habitat reveals a techno-morphed structure that can no longer be hidden behind the vestiges of a natural world: technology has to be naturalized. Pauline van Dongen researches the body in a technologically textured space. After graduating from ArtEZ, Academy of the Arts in Arnhem, the Netherlands, she started her own womenswear label in 2010. Pauline operates a meticulous research of the behaviour of experimental and high-tech materials, combining new technologies with traditional techniques to constantly renovate craftsmanship. Working closely with companies from the field of science and innovation, Pauline aims to merge fashion and technology giving life to scientific creations.

Canoe
The work here in Dawson is like an old vehicle in which I’ve put a new engine. Entitled Canoe, it consists of an approximately 20 foot long trough of water, that resembles some kind of boat. This provides a means for a gunwales tracking mechanism to slowly, endlessly paddle its way back and forth. It was first constructed in 2001 in a studio beside Halifax harbour. It draws visual inspiration from the bridges and water vessels of this port. Conceptually, it grew from an interest in technological obsolescence: how things (like canoes) make shifts from utility to leisure.
It has experienced several major rebuilds since 2001. Most of them have been practical, but for Dawson I’ve opted for an experimental configuration that changes significantly the nature of the work. Previously, Canoe has only ever been shown indoors. Normally in runs on rechargeable batteries, with a continuous, smooth motion. In Dawson, it is shown outdoors, alongside the Yukon river, showing up in an absurd way the paleness of its artificial river. Here, the primary source of power is sunlight.
Making use of the long northern day, solar panels receive light, storing energy in an array of super-capacitor cells. At this time, Canoe remains still. A custom circuit monitors the amount of charge, and when a predetermined trigger point is reached, it is dumped into Canoe’s electric motor in a burst, allowing it to make a few strokes. Then Canoe rests, while the charging cycle begins again. Motion is intermittent, entirely dependent on the amount and intensity of sunlight. It ranges from near standstill in overcast conditions to perhaps 1 or 2 strokes every minute in full light. The technical term for this type of circuit is a relaxation oscillator. I like this term because, if you remove it from its technical context, it points back to ideas about leisure and utility.

moon tensegrity membrane structure

This is an experimental housing complex that sought to regenerate the shops-cum-houses in an old area of Hanoi, Vietnam. This district, popularly known as “the 36th street district”, is composed primarily of houses inhabited by traditionally large Chinese families. The buildings have narrow frontages and an unusually extended depth of 70-80 m. These high-density, low-rise buildings were considered to be a comfortable domestic environment until the changes of government in Vietnam during the 20th century.
Han,” became such a high-density city (1,000 people per hectare} that many families began to live together within one unit and even to transform courtyards into actual rooms. As a result the standard of living deteriorated.

transmutation
In the weird and wonderful world of humanoidquantum mechanics, dimensional transmutation describes a phenomena which changes the state of a parameter by adding dimensions to its dimensionless condition. This experimental film applies this principle to visualize the complex interactions between atmosphere and climate. It utilizes a six-dimensional framework, comprised of regular space-time augmented with climate data collected between 1993 and 2011. Changes in global tropospheric temperature, mean sea level, and atmospherical co2 concentration are mapped onto the color palette, shape, and stereoscopic depth of a video clip, depicting a low-lying shoreline in Indonesia, threatened by rising sea levels. The film begins ‘flat’, but over time, with increasing co2 concentration in the atmosphere, its stereoscopic depth expands, and the landscape opens up to the observer, while temperature and sea-level changes modify color and shape.