NNY 43 – New York 43

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Arnaud Weber – NNY 43 – Nouvelle New-York 43 – Switzerland

In this short created with Midjourney, Runway and DaVinci Resolve, a futuristic megacity sprawls across an exoplanet, reflecting humanity’s limitless expansion. This fascinating and immense city of tomorrow explores the challenges and wonders of a civilization that goes beyond the limits of human habitation. The work offers a captivating reflection on the future of our societies and the impact of our growth in new and unexplored worlds.

Bio

Arnaud Weber, creative director and founder of Le Village Design has been a pioneer in generative digital art since the 2000s. Educated at École Boulle, his work ranges from Parisian design agencies to international recognition, especially through art and films generated by AI. His projects exemplify the fusion between technology and creativity, questioning the future of organic creativity in the digital age.

extended Baryon Oscillation Spectroscopic Survey ( eBOSS)

“Taken together, detailed analyses of the eBOSS map and the earlier SDSS experiments have now provided the most accurate expansion history measurements over the widest-ever range of cosmic time. These studies allow us to connect all these measurements into a complete story of the expansion of the Universe.”  Will Percival

Shenzhen Genzon Technology Innovation Center

Aedas

Cette image vivante implique les possibilités infinies dans l’intégration de la technologie, de l’énergie et de l’innovation. La conception propose des ascenseurs-navettes et des terrasses partagées le long du côté centripète de chaque tour pour engendrer un environnement de bureau relaxant à expansion verticale. La zone ouverte s’étend longitudinalement et se rejoint naturellement au fond; accentué par l’éclairage intérieur, des contours d’étamines dorées émergent et les panneaux de verre incurvés se présentent comme des pétales, faisant allusion à la muse florale du projet.

The exterior view of the figure and “point of view shot” are synchronised onto two projection surfaces. If a protagonist leans his head it shifts the observer’s view correspondingly. Observer, figure and object all interact. Netzhammer is not only a master of the erotic of touch, his images awaken unease: they show decay and perishability as well as regularity in the flow of life, which the subject cannot escape, much as expansion and transcendence are desired.

.

A visão externa da figura e o “ponto de vista” são sincronizados em duas superfícies de projeção. Se um protagonista inclina a cabeça, ele muda a visão do observador de forma correspondente. Observador, figura e objeto interagem. Netzhammer não é apenas um mestre do erótico do tato, suas imagens despertam desconforto: mostram decadência e perecibilidade, assim como regularidade no fluxo da vida, da qual o sujeito não pode escapar, por mais que se deseje expansão e transcendência.

Butoh

DeepDream

Okumura dances through morphing DeepDream projections by Michael Tyka. Her piece explores the contrast between Butoh’s inherent downward motion and DeepDream’s “obsessive expansion”. The two systems diverge but find harmony in the alien.

Afasia
File Festival – Hypersonica
Afasia is a surreal robotic performance that evolves Greek myths, and brings up the tragedy onto-machinal. Marcel.lí Antúnez Roca (Moià, 1959) is well-known in the international art scene for his mechatronic performances and robotic installations. In the 90′s his vanguardist mechatronic performances combined elements such as Bodybots (body-controlled robots), Systematurgy (interactive narration with computers) and Dresskeleton (the exoskeleton body interface). The themes explored in his work include: the use of biological materials in robotics, telematic control, the expansion of body movements with dresskeletons and microbiological transformations.

Yellow expansion
via highlike submit

Open expansion

feel Me tactile interactive bed
File Festival
“feelMe” is a work that for the first time remotely transmits the tactile sensation. Our work provokes the exploration of the sense of touch while promoting the interaction between two people mediated by a machine. The work is constituted of two surfaces, or “beds”: the first one (tactile transmission unit), in which one of the participants, layed down, imprints marks to its surface by pressing it with the weight and movement of the different parts of his/her body; these impressions will be captured and transmitted to the other participant, who lies in the second “bed” (tactile reception unit) and receives them simultaneously in the same positions and in proportional intensities, however, in negative, that is, when the surface in the first bed sinks, it rises in the second one, promoting a touch. The first body touches the second one, and the “beds” may be a few meters or thousands of kilometers apart from each other. Between the bodies, dozens of occult sensors, microcontrollers, engines (lineal actors), computers and a program that orchestrates that tactile communication. We allow the participant to experiment the possibilities of encounter between bodies through the digital world, with a different approach from the one provided by virtual reality. We want to explore the tactile perception separately in its “corporal way”, and only in future works to propose the expansion/extension of multimedia perception with the inclusion of tactile perception.

卡斯滕·尼古拉
קרסטן ניקולאי
カールステン·ニコライ
Pionier

Der Installationskünstler produziert oft Musik unter dem Namen Alva Noto und leitet mit seinem Freund Olaf Bender das Label Raster-Norton. Die Projekte des Teams experimentieren mit der Verschmelzung von Klang, Kunst und Design. Nicolais Arbeit umfasst die Spannung, die Unfällen innewohnt. In unserem Videoprofil des Schöpfers (oben) erklärt er, dass Störungen seine Daten häufig auf frische und aufregende Weise beschädigen. “Defekte Elemente werden als Grundlage für Musik verwendet”, sagt Nicolai. “Sie haben keine Kontrolle darüber, was passiert. Natürlich läuft etwas schief, aber es ist wirklich aufregend. ” Und bei seinen Erkundungen von Klängen und Bildern arbeitet Nicolai daran, einige unfaire Annahmen zu zerstören, die sein Publikum möglicherweise hat. “Die Vorstellung, dass elektronische Musik kalt ist und keine Emotionen aufweist, hat mit den Gewohnheiten der Menschen in Bezug auf Musik zu tun.” Nicolai ist sich bewusst, dass einige seiner Projekte diese unfaire Konzeption widerlegt haben – nämlich seine Zusammenarbeit mit Ryuichi Sakamoto, in der „starke emotionale Situationen geschaffen wurden“. Die Pionier I-Ausstellung von Carsten Nicolai kommt am kommenden Freitag, dem 23. September, in die Pace Gallery in New York City. Die Installation zeigt die Expansion und Kontraktion eines Fallschirms aus weißer Seide. Nicolai ist fasziniert von Widersprüchen. „Wir Menschen versuchen immer mehr, Maschinen zum Denken zu befähigen, aber gleichzeitig versuchen wir, immer mehr Mechaniker zu werden. In gewisser Weise ist es fantastisch, dass wir uns permanent dieser Polarität und diesem Konflikt aussetzen. “