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QUBIT AI – International Electronic Language Festival – Art and Technology

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

 

QUBIT AI: Robert Seidel

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

QUBIT AI: AESTHETIC SYNTHETIC FILE – São Paulo 2024 – Art and Technology

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

QUBIT AI: FILE QUANTUM WORKSHOP 2024 – São Paulo – Art and Technology

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

QUBIT AI: FILE OPENING LECTURE 2024 – São Paulo – Art and Technology

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

 

Craig Green

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.

MERCE CUNNINGHAM

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

Maxim Zhestkov

Elements
Elements is an experimental art film by Maxim Zhestkov about nature, physics, art and love. More than 2 billion elements / particles governed by tensions and forces of nature were used to tell stories and show emotions through the motion of collective behavior.
The film is a trial to explore the idea that everything around us and inside us is made from simple elements / blocks which can be arranged in complex relationships and become compound structures. We could project this idea into emotions, behaviours, thought processes, relationships, life, planets and the 23.

Juri Hwang

Somatic Echo
“Somatic Echo” is an experimental sound art and research project that utilizes bone conducted sound as a method to investigate human audition and create an unusual and mesmerizing aesthetic of the body as a medium of sound. The installation uses a reclining chair and a sound mask to play an 8-channel sound composition through 8 transducers placed on the user’s head: 6 channels in the face and 2 in the back of the head. The transducers transmit sound through the bone structure of the skull directly to the listener’s inner ear, bypassing the outer ears, which normally are the gateway for auditory signals. The listeners experience the soundscape through both their auditory and tactile senses perceiving a sonic image shaped by the sound traveling through the head structure and through vibrations applied to the skin. This set up lets us experience sound through our body and our body through sound.

DIRK KOY & BILD UND BEWEGUNG

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.

Lebbeus Woods

The Light Pavilion
The Light Pavilion by Lebbeus Woods in collaboration with Christoph a. Kumpusch, in the Raffles City complex in Chengdu, China, by Steven Holl Architects.
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The Light Pavilion is designed to be an experimental space, one that gives us the opportunity to experience a type of space we haven’t experienced before. Whether it will be a pleasant or unpleasant experience; exciting or dull; uplifting or frightening; inspiring or depressing; worthwhile or a waste of time, it is not determined by the fulfillment of our familiar expectations, never having encountered such a space before. We shall simply have to go into the space and pass through it. That is the most crucial aspect of its experimental nature, and we – its transient inhabitants – are experimentalists.Lebbeus Woods and Christoph a. Kumpusch

Dragan Ilic

Re)Evolution

With the machine programed to draw, the robot becomes a medium for interaction and for “symbiosis” with the artist, creating a kind of “hybrid body” of man and machine, whose nervous system and brain waves administer “software commands” to the robot during the drawing performance. A key actor in the exhibition will be the new model of the KUKA KR 210 robot, that has a multi-functioning performative role: from drawing, experimental dance, music – through the production of industrial sound, and a six channel video projection that documents Ilić’s projects.

Isamaya Ffrench

“Sure, (the brands) define what is beautiful, but what we are finding is that people in fact have very different concepts of what beauty is. It is personal and it moves you and it is important for us to create a space where those experimental ideas can be expressed.” Isamaya Ffrench

CAROLINA EYCK

L’extase de l’or
Eyck crée des couches de couleurs sonores avec sa voix et le thérémine, jouant avec des boucles et des effets. Le style de la musique varie entre jazz, contemporain et expérimental. Alors que de nombreuses parties sont composées, Eyck laisse toujours de la place aux improvisations.

Peaches & Pussykrew

Fill the Whole
Como parte do espaço virtual Cyberia do CTM Festival, a música pioneira Peaches se juntou aos artistas visuais Ewelina Aleksandrowicz e Andrzej Wojtas, também conhecido como Pussykrew, para criar uma experiência única de videogame. Intitulado Fill the Whole, o jogo é descrito como um “exercício experimental de amor próprio e aceitação” que permite ao jogador explorar a positividade corporal e a liberdade de gênero.

Jason Bruges Studio

The Constant Gardeners
S’inspirant d’un jardin zen japonais traditionnel, quatre bras de robots industriels sont disposés autour d’une vaste toile de gravier avant de se réveiller et de commencer à ratisser la surface. Dans une série de performances quotidiennes, ces « jardiniers » travaillent ensemble pour créer des illustrations uniques et évolutives représentant les mouvements des athlètes. Générées par une série d’algorithmes sur mesure, qui analysent des séquences vidéo d’événements olympiques et paralympiques, certaines illustrations représentent un mouvement qui se déroule dans le temps tandis que d’autres mettent en lumière un moment sportif spectaculaire. Une méditation sur la tradition, l’artisanat et les rôles de la technologie, The Constant Gardeners offre aux visiteurs un espace paisible pour une introspection tranquille. L’œuvre explore un nouveau récit autour de la robotique, montrant que cette technologie est une force capable de créativité artistique et d’action expérimentale, qui joue un rôle déterminant dans notre cheminement vers un avenir plus heureux et plus sain.

Zach Lieberman

Daily Sketches
Zach Lieberman es artista y educador radicado en la ciudad de Nueva York. Crea obras de arte con código mediante herramientas experimentales de dibujo y animación. Produce ambientes interactivos que invitan a los participantes a convertirse en performers. Su enfoque principal es cómo se puede utilizar la computación como medio para la poesía.

RAAAF + BARBARA VISSER

O fim do sentar
“O fim do sentar” é um modelo de pensamento da vida real que questiona nossa “sociedade sentada”. A RAAAF e a artista visual Barbara Visser desenvolveram um conceito em que a cadeira e a mesa não são mais pontos de partida inquestionáveis. Em vez disso, as várias possibilidades da instalação solicitam aos visitantes que explorem diferentes posições de pé em uma paisagem experimental. “O fim do sentar” marca o início de uma fase de teste experimental, explorando as possibilidades de mudança radical para o ambiente de vida.

MYMK Bruno Sres

Garlands

Into Promenade

…But the best thing about MYMK is his music needs no adornment; the bonuses are simply icing on the cake…We’ve referred to MYMK as drone, electronic and experimental... spreading his sounds like Sodeoka’s spilled paint. Garlands are decorations we associate with victories; Garlands is one of them. (Richard Allen)

visual designer and artist: Yoshi Sodeoka

Howeler and Yoon Architecture

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.

INTEL, SMS AUDIO AND SID LEE

Robô do coração
Robô do coração é uma máquina de desenho experimental controlada pela frequência cardíaca de seu público. Encomendado por Sid Lee New York para lançar uma nova colaboração entre a Intel e o áudio SMS no New Museum em Nova York.

HOWELER AND YOON ARCHITECTURE

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.

YURI SUZUKI

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.

VERENA FRIEDRICH

El largo ahora
Una pompa de jabón generalmente permanece estable solo por unos momentos: es una esfera perfectamente formada con una superficie iridiscente que refleja su entorno. Como uno de los símbolos clásicos de la vanitas, la pompa de jabón representa tradicionalmente la fugacidad del momento y la fragilidad de la vida. THE LONG NOW aborda la pompa de jabón desde una perspectiva contemporánea, con referencia a sus propiedades químicas y físicas, así como a los recientes avances científicos y tecnológicos. THE LONG NOW tiene como objetivo extender la vida útil de una pompa de jabón, o incluso preservarla para siempre. Usando una fórmula mejorada, una máquina genera una burbuja, la envía a una cámara con una atmósfera controlada y la mantiene en suspensión el mayor tiempo posible. El proyecto se presenta bajo la forma de un montaje experimental en el que la pompa de jabón recién creada oscila permanentemente entre la fragilidad y la estabilidad.

Mischa Kuball

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.

SHOHEI FUJIMOTO

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.

PETRA CORTRIGHT

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.

PFADFINDEREI STUDIO

Monolithe
Monolith est un travail expérimental non commandé, jouant avec des motifs de pixels irréguliers. Que se passe-t-il lorsqu’un écran présente une disposition non uniforme des pixels? Comment cela influence-t-il notre perception des images et de quelle quantité d’informations visuelles avons-nous même besoin pour franchir la frontière de l’abstrait au figuratif? Pour répondre à ces questions, nous avons créé une sculpture vidéo, qui fait fondre esthétiquement l’écran et le contenu. Dans un jeu entre beauté naturelle et bouleversement technique, les images de bustes classiques se transforment cycliquement en dégradés abstraits et redeviennent des images perceptibles.

James Bridle

The Right to Flight

A Londres, l’installation aérienne «The Right to Flight» de l’artiste britannique James Bridle explore la notion de surveillance depuis les airs et revient sur les utopies dévoyées des premiers aérostats.
Dans le ciel limpide de Londres flotte depuis le mois de juin un étrange ballon noir. Localisé dans le quartier populaire de Peckham, dans le sud de la ville, il est arrimé au niveau supérieur d’un parking désaffecté, vaisseau brutaliste dont les deux derniers étages hébergent depuis huit ans Bold Tendencies, un projet artistique estival, ainsi qu’un bar de plein air très couru avec une vue stupéfiante sur la skyline londonienne.Connu pour ses projets sur les drones ou son blog de recherche The New Aesthetic, James Bridle, né en 1980, a aussi posé sur le toit du parking une station de recherche expérimentale explorant l’histoire des aérostats, via des ateliers, des conférences et projections. Constituée de trois modules circulaires, fabriqués à partir de silos de grains lestés par des sacs de sable, l’architecture évoque tout à la fois les hangars des compagnies aériennes et la maison en kit Dymaxion de Buckminster Füller

 

LAUREN BOWKER

The Unseen Collection
Experimental fashion studio The Unseen has produced a range of accessories that alter in response to environmental changes using inks developed from its colour-shifting wearable sculptures. Bowker has previously embedded her specially developed ink into feathered, leather and gemstone-encrusted headdresses. The Unseen also presented a sculptural jacket that changes colour depending on the wearer’s mood.

Abel Gance

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.

Rafael Lozano-Hemmer

Recurrent Rayuela
“Recurrent Rayuela” is a generative artwork made with the 155 chapters of the experimental novel “Rayuela” (Hopscotch) published in 1963 by Argentine writer Julio Cortázar.

Mushon Zer-Aviv

The normalizing machine
The Normalizing Machine is an interactive installation presented as an experimental research in machine-learning. It aims to identify and analyze the image of social normalcy. Each participant is asked to point out who looks most normal from a line up of previously recorded participants. The machine analyzes the participant decisions and adds them to its’ aggregated algorithmic image of normalcy.

Maxim Zhestkov

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.

Pfadfinderei Studio

Monolith
Monolith is a noncommissioned experimental work, playing with irregular pixel patterns. What happens when a screen has a nonuniform arrangement of pixels? How does this influence our perception of images and how much visual information do we even need to cross the border from abstract to figurative? Dealing with these questions, we have created a video sculpture, that aesthetically melts screen and content. In a play between natural beauty and technical disruption, images of classical busts transform cyclically into abstract gradients and turn again into perceptible images.

OLLY SHINDER

Olly has his whole life ahead of him, whether that means forging a career as an artist or designer or maybe even both. For now, though he’s focusing on fashion with a foundation course at CSM. “I love making things,” he says. “I think you can tell a lot of stories with clothes. Right now I wouldn’t say my style is quite there yet, as I’m only beginning, but I’ve been doing some quite experimental stuff, exploring unconventional shapes and fabrics. I like to toy with stereotypes.” He pauses. “I’m just doing what I want and what feels right to me.”

Verena Friedrich

THE LONG NOW
A soap bubble usually remains stable for only a few moments – it is a perfectly formed sphere with an iridescent surface that reflects its surroundings. As one of the classical vanitas symbols the soap bubble traditionally stands for the transience of the moment and the fragility of life. THE LONG NOW approaches the soap bubble from a contemporary perspective – with reference to its chemical and physical properties as well as recent scientific and technological developments. THE LONG NOW is aimed at extending the lifespan of a soap bubble, or even to preserve it forever. Using an improved formula, a machine generates a bubble, sends it to a chamber with a controlled atmosphere and keeps it there in suspension for as long as possible. The project is presented in the form of an experimental set-up in which the newly created soap bubble oscillates permanently between fragility and stability.

Nelo Akamatsu

Chijikinkutsu
“Chijikinkutsu” is a coinage, specially created for the title of this work by mingling two Japanese words: “Chijiki” and “Suikinkutsu”.”Chijiki” means geomagnetism: terrestrial magnetic properties that cannot be sensed by the human body but that exists everywhere on earth. Since long before the Age of Discovery, people have traveled with navigation using compasses employing geomagnetism. In recent years, various devises that utilize geomagnetism have even been incorporated into smartphones[…] “Suikinkutsu” is a sound installation for a Japanese traditional garden, invented in the Edo period. The sounds of water drops falling into an earthenware pot buried under a stone wash basin resonate through hollow bamboo utensils. The concept of the work “Chijikinkutsu” does not derive from experimentalism of science and technology on which media arts rely, nor from architectural theory of western music upon which some sound arts lay their foundation. While utilizing the action of geomagnetism normally treated as a subject of science, this sound installation expands the subtle sounds of “Suikinkutsu” in the context of Japanese perspective on Nature.

robert seidel

Vitreous
The nine virtual sculptures underlying vitreous resulted from experimental setups by Robert Seidel for generating three-dimensional clusters of fibrous refractions, as well as the gravitational lensing of different volumetric and chromatic densities. Singular elements gravitate towards each other, accumulating in a gigantic sculptural system, where each entity exists with its own visual axis and vanishing point. The impalpable luminous formations create prismatic interactions between the ridges and plateaux of the main colours floating in front of the infinite violet background.

SHOHEI FUJIMOTO

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.

Refik Anadol

Machine Hallucination
Refik Anadol’s most recent synesthetic reality experiments deeply engage with these centuries-old questions and attempt at revealing new connections between visual narrative, archival instinct and collective consciousness. The project focuses on latent cinematic experiences derived from representations of urban memories as they are re-imagined by machine intelligence. For Artechouse’s New York location, Anadol presents a data universe of New York City in 1025 latent dimensions that he creates by deploying machine learning algorithms on over 100 million photographic memories of New York City found publicly in social networks. Machine Hallucination thus generates a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques. The resulting artwork is a 30-minute experimental cinema, presented in 16K resolution, that visualizes the story of New York through the city’s collective memories that constitute its deeply-hidden consciousness.

ZNera

The Smog Project
Dubai-based architecture firm Znera Space have released “The Smog Project,” a design to clean the air in Delhi, one of the world’s most polluted cities. Shortlisted in the World Architecture Festival’s Experimental Project Category, the Smog Project hopes to address Delhi’s noxious air quality by adding a network of smog filtering towers throughout the entire city. India’s capital has become known for toxic smog levels from overcrowding and industrial waste. Znera’s proposal hopes to cleanse the smog chamber and generate smog free air.

DAITO MANABE

真鍋 大 度

One of the new technology projects from the programmer and artist Daito Manabe based in Tokyo, Japan, centres on experimental music performances and connects a person’s face to electric sensors. This innovative system lets you ‘play’ your face like a musical instrument with the help of facial movements that trigger sounds. Electrical stimulation makes a face twitch involuntary, each twitch matches the beat of the music.

 

YUNCHUL KIM

Dawns, Mine, Crystal

The exhibition title Dawns, Mine, Crystal – a direct reference to the work of Raymond Roussel, a pioneer of experimental writing – establishes an intersection of a ‘world of materials’ with complex layers of metaphors and symbols. For Kim, material is not merely a basis for creating forms and images, but a main protagonist for creation itself.

IRIS VAN HERPEN

АЙРИС ВАН ЭРПЕН
イリス ヴァン ヘルペン
Prodige de la mode, l’artiste plasticienne défie la nature et les lois de la physique en donnant vie à des sculptures sur lesquelles l’espace n’a pas d’emprise. Façonnés dans des matériaux innovants (polyamide, rhodoïd, Magiflex, plexiglas…), aussi étonnants qu’inquiétants, les créations futuristes d’Iris van Herpen relèvent d’une approche expérimentale de la couture où la virtuosité technique se conjugue à l’intelligence artificielle d’une technologie digitale (la stéréo-lithographie).

Sanja Marusic

Dutch-Croatian photographer Sanja Marušić uses an experimental approach to colour, composition, materials, and manipulations in her work to create dreamlike scenes that are at once cinematic and alienating.She travels the world in her production of these otherworldly images, finding settings and forms that play with our relation to the subconscious, simplifying the bodies of her subjects with geometric shapes, and abstracting the human form even further by incorporating stylised dance movements.Putting places above people, many of Sanja’s photographs are set in wide open futuristic spaces in an attempt to create surreal and alienating visual emotions. She often uses cool and bright colours as well as singular objects and accessories in order to create unique and enigmatic narratives.

YURI SUZUKI

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.

Amy Karle

Biofeedback Artwork

Amy Karle connects her body and consciousness to technology to create art, repurposing a Sandin Image Processor as an electrophysiological visualization device. While meditating, Amy Karle inputs her biofeedback into the historically significant Sandin IP analog computer to generate the output of image and sound in real-time. The artwork is both the long-duration performance as well as the experimental video art that is created in the process.

CHANG YEN TZU

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.
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Dirk Koy & Bild und Bewegung

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.