Hibanana Studio
Liu Chang & Miao Jing
FILE SAO PAULO 2017
FILE LED SHOW
“INFINITE” is an audiovisual installation created by New York-based visual artist duo Liu Chang and Miao Jing, in collaboration with sound artist Gan Jian. “INFINITE” explores the connection between time and space, discusses about spatial gravity and its influence to human’s perception. Sound and visual elements are in completely in sync in order to contribute the immersive experience.
Claude
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – LED SHOW
Electronic Language International Festival
Protoform – South Korea
Protoform explores the primal structure from which all forms emerge. Composed of drifting particles, the work visualizes microscopic elements colliding and coalescing into a living sphere, echoing the formation of cells and molecules. Through continuous transformation and expansion, it reveals the invisible order underlying nature, capturing the moment where form remains fluid and becoming is infinite.
BIO
Soon Cho (CLAUDE) is a Seoul-based new media artist creating immersive, data-driven artworks inspired by nature’s fundamental structures. Through particles and generative systems, he explores abstract beauty and the invisible dynamics that shape life and matter.
Daniel Samama
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – LED SHOW
Electronic Language International Festival
Dusk – Netherlands
DUSK is an exploration of chaos and cohesiveness. The work randomly generates a never ending stream of new compositions and colors, which are both smooth and unexpected. DUSK is the result of a carefully coded series of feedback loops and modulators.
BIO
Daniel Samama creates generative art that shapes light and time with code and chaos. His work shows how code and chaos can form a perfect symbiosis, revealing endless beauty in unpredictability. It reflects a fascination with the unexpected and with creating playgrounds in which the digital is always in motion, with an infinite variety of shapes and colours.
Daniel Samama
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – LED SHOW
Electronic Language International Festival
Jairo’s Garden – Netherlands
JAIRO’S GARDEN is a generative animation, coded while in Jairo’s Garden in Guatapé, Colombia. The animation tries to encapsulate the colors and movement of nature. It is both smooth and unexpected, both chaotic and in harmony. The work is crafted from a carefully coded series of feedback loops and chaos generators. Together, the animation creates itself: pixels push pixels, that push pixels who push pixels. Colors are semi-randomly inserted and being formed to streams, planes, clouds, mountains.
BIO
Daniel Samama creates generative art that shapes light and time with code and chaos. His work shows how code and chaos can form a perfect symbiosis, revealing endless beauty in unpredictability. It reflects a fascination with the unexpected and with creating playgrounds in which the digital is always in motion, with an infinite variety of shapes and colours.
DOISDOIS
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – LED SHOW
Electronic Language International Festival
O Intervalo – Brazil
At the heart of one of the city’s fastest-moving axes, the work mirrors the rhythm we already inhabit: continuous flows, repetitive patterns, relentless stimuli. The structure appears infinite. Within it, a finite body struggles to keep pace. By recognizing time as limited and the body as irreproducible, it interrupts automatic adjustment and establishes its own rhythm. The system continues, but it is no longer absolute.
BIO
Isabella Conz is a visual artist and architect, co-founder of studio doisdois. Her practice investigates the relationships between space, body, and technology through images, films, and digital experiences, exploring light, scale, repetition, and atmosphere between the physical and digital realms. Matías Kim is a visual artist and architect, also co-founder of studio doisdois. Working across 3D visualization, AI, painting, and graffiti, he explores the systems that structure the city and the gestures that disrupt them.
Nueve Voltios
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – LED SHOW
Electronic Language International Festival
Farol Infinito – Colombia
FAROL INFINITO presents an immersive journey in which sound and visual art intertwine to bring to life a poetic and sensory work. Carefully crafted in every detail, its narrative takes the lighthouse as a device for communication and navigation and, from a mythological perspective, explores the infinite fire it contains, a symbol of science and technology, understood as humanity’s ability to harness the forces of nature for the development of civilizations.
BIO
Leonardo González Quevedo, born in 1977, is an architect with 18 years of experience as a video artist and VJ. His audiovisual practice has focused primarily on the creation, development, and design of visual, trans architectural, transmedia, and stage-based languages, implemented in large-scale events, art exhibitions, and television. | Maria José Marulanda, born in 1987, is a singer, industrial designer, and composer with 15 years of experience as a sound artist and producer. Her sonic practice focuses primarily on the creation, development, and design of electronic, transmedia, and stage-based sound languages, presented in large-scale events, concerts, and television broadcasts.
Zhipeng Wang
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – MUSIC
Electronic Language International Festival
Singularity – China
A singularity is a point of infinite curvature where laws dissolve. Singularity visualizes the invisible forces of sound at this threshold. Using real-time algorithms, millions of particles are simulated as a volatile quantum field. Driven by spectral data, visual matter oscillates between entropy and a unified core. Transforming the dome into a particle accelerator, the work immerses the audience in a collision of digital matter and sonic energy—the birth and collapse of a universe.
BIO
Zhipeng Wang, digital artist, graduated from the China Academy of Art, Intermedia Art Academy. His practice includes live audiovisual performance, generative art, and sound art, among other forms.
Simone Bosco
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – MUSIC VIDEO PERFORMANCE
Electronic Language International Festival
REbirth – Italy
REbirth is an Audio Video live show in which images react in real time to sound, shaping an incredibly emotional experience. “Nothing is destroyed, everything is transformed”, inspires the artist who explores the infinite life spiral of every living being: a process of regeneration that gives new life. An invitation to sustainability and personal renewal, REbirth explores a territory straddling different sound and visual languages in a synaesthetic process between them.
BIO
Simone Bosco is an Italian composer, producer, sound designer and musician.
From 2000 to 2026 he released 17 record works (4 of which were voted among the 10 best European albums of the year).
He has written music for 18 dramas.
He has collaborated with internationally renowned artists and has a concert activity that has led him to perform in prestigious theatres and festivals in over 20 countries.
Narges Astaraki
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – VIDEO ART SHORT
Electronic Language International Festival
Drop to sea – Iran
Water is an element as grand as the sea and, at the same time, as delicate as a drop. In this video, we witness the transition of the infinite and vast form of the sea into the fine and detailed states of droplets. This transition not only reveals the physical changes of water but also alludes to the concepts of repetition and fractals in nature, where each drop contains a complete world within itself.
BIO
Narges Astaraki is a young artist active in the fields of digital art, graphic design, and photography. Driven by a profound interest in nature, she explores natural elements and the structures of their creation. Through photography and videography, Narges has created a collection titled Harmony of Life.
MARTA DI FRANCESCO
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – VIDEO ART SHORT
Electronic Language International Festival
TIRESIAS – Italy / United Kingdom
Tiresias is a meditation on blindness as spiritual blindness and lack of foresight. Inspired by the blind prophet of Greek mythology Tiresias, a liminal being who exists as man and woman, between humankind and gods, blindness and sight, the piece critically examines AI recursive mirror by reimagining Tiresias, who can no longer see in darkness because it is replaced by recursion, self-replication, and infinite feedback loops of mirrored images. Blindness is not the absence of sight but its saturation.
BIO
Di Francesco is a London-based artist merging poetics with code across video, text and installation. Her practice takes an existential, critical approach to the human condition in machine-mediated reality. Through meticulous processes, generative and hand-painted frame by frame, she reclaims agency in temporality and time consciousness as forms of resistance against speed, acceleration, distraction.
Scott Draves
FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival
The Electric Sheep – United States
The Electric Sheep is a collective intelligence and infinite animation that started over 25 years ago. It’s based on a mathematical language invented by Draves and released as open source. Human artists and AI collaborate on designing the “Sheep” with this language. It runs as a screensaver on thousands of computers all over the world, and based on how the audience interacts, the AI learns to please its human audience. The AI, the artists, and the audience work together to create the experience.
BIO
Draves’ work was shown at LACMA, MoMA.org, Prix Ars Electronica, ZKM, and has been collected by the 21c Museum Hotel, Google, the Simons Center for Geometry and Physics, and the Allen Institute for AI. Draves’ Bomb was one of the first interactive software artworks (1994). His Fuse algorithm (1991) is the first image2image model and is known as “where the history of AI-art-as-we-know-it begins”.
Parmenides I
The work continues to build on a visual language rooted in ideal geometries, and a prismatic interplay of light and pattern. The cascading faceted surface carries an implied motion, rolling away from the spectator with meditative ease. This energy potential is given breath by luminescent washes which crash, ebb and flow with internal symmetry.
While best understood directly and perceptually, Dev’s work presents an infinitely reproducible formal structure and lucid logic that can be known universally without empirical knowledge. Light and projection become representative of perceptual knowledge by directly invoking temporal optical phenomenon, but a pure idealized form remains intact. It is this interplay that reproduces the sublime conflict in the viewer, who must choose to ride this crest uncertainly and find exhilaration in the balance.
WOW Studio by D2D
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – LED SHOW
Electronic Language International Festival
UnBoxing the Infinite – Egypt
The work explores the intersection between reality and hyperreality. As a dancer traverses confined spaces, discovers portals, and creates magical worlds with the audience. Using dynamic motion tracking and live visuals, the performance inspires transformation, creativity, and self-liberation, breaking down boundaries of perception.
BIO
Elena Kauffmann is the founder and creative director of WOW Studio (Egypt), focused on media arts, XR, and AI. She created WOW Zone, an experimental space powered by immersive technologies, and is a co-founder of VR developer UBR. She works as a creative producer, immersive experience designer, and art director. Carolina Assis is a Colombian contemporary dancer based in Egypt. Amr Ali is one of WOW Studio’s lead tech artists.
DMTPortal
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Shorts Films AI
Electronic Language International Festival
Recursive Empyrean – Canada
Recursive Empyrean merges fractal-based visuals with an original ambient soundtrack, guiding viewers through infinite loops of creation and collapse. Each cos mic structure reflects itself into eternity, unveiling deeper mysteries with every shift in perspective. Radiant geometry and ambient pulses draw awareness beyond time and space, where subtle patterns reveal gentle truths, echoing the hum of cosmic purpose.
BIO
John Dobbie, a Classical Animation graduate from Sheridan College in Canada, has spent over 20 years shaping digital worlds for franchises like Call of Duty and God of War. Now based in New York’s Capital Region with his family, he crafts immersive cosmic-themed works as DMTPORTAL, merging technology, mysticism, and decades of experience to expand perception beyond the ordinary.
Julius Horsthuis
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Installations
Electronic Language International Festival
Fractalicius – Netherlands
Exploring the mysterious connection between mathematics and art, Julius Horsthuis delves into the mesmerizing realm of fractal geometry. His animations reveal surreal landscapes generated by mathematical equations, inviting viewers to contemplate infinite worlds born from invisible patterns. These works reflect the harmony between numerical abstraction and visual beauty, transforming logic into poetic expression.
BIO
Julius Horsthuis is a digital artist known for his hypnotic fractal animations that blend abstract complexity with cinematic beauty. With 15 years of experience in the Dutch film and entertainment industry as a visual effects supervisor, he transitioned into fractal animation and became a pioneer of a distinct visual language that has captivated audiences worldwide.
point of no return
With point of no return, Ryoji Ikeda condenses the unknowable chaos of the event horizon of a black hole into a work of order and balance. Composing a delicate assemblage of basic shapes, sounds, light and shadow, the artist eschews the intricacies of data for a more sculptural approach. While gesturing towards the sublime, the infinite expanse of space and the immense, reality-warping gravitational force of a black hole, he focuses in on the beauty of the physical, bringing together a few simple elements to make sense of something unthinkably complex. Through his own artistic process of playing with space, the artist finds purity in basic structures while drawing inspiration from the vast scope of the universal. “point of no return is a very simple, very intense piece,” he says.
micro | macro
micro | macro transforms Hall E in the MuseumsQuartier into an oversized world of moving images and sounds. In his immersive installation, multimedia artist Ryoji Ikeda creates a field of imagination between quantum physics, empirical experimentation and human perception. In collaboration with nuclear scientists at CERN, Ikeda has translated complex physical theories into a sensory experience. The Planck scale is used by scientists to denote extremely small lengths or time intervals. Concepts like space and time lose their meaning beyond this scale, and contemporary physics has to rely on speculative theories. And on art. Visitors to micro | macro enter a world of data, particles, light and sound that makes the extremes of the universe perceptible to the eye and ear. In the micro world we penetrate the smallest dimensions of the unrepresentable, while in the macro world we take off into cosmic expanses that allow us to experience the infinite space beyond the observable universe. In this maelstrom of data, an acoustic and visual firework bridges the gap between theoretical understanding and sensual perception.
Sunshowers
(AI) infinite simulations
FILE FESTIVAL SP 2019
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‘Sunshowers’ is the third in our series of real-time animation artworks. It is inspired by the opening chapter of Akira Kurosawa’s film Dreams which follows a young boy as he explores a forest and stumbles across a fox wedding (Kitsune no Yomeiri). Our piece explores ideas of animism and techno-animism by assigning life in the form of artificial intelligence to all of the objects, both natural and man-made, within the virtual world. The piece unfolds in real time with the characters themselves deciding which paths they will follow.
infinite posture dataset
She moves by endlessly morphing to the rhythm of the device – strapped in the frame of the screen – following or giving instructions; part human, part machine. The design of the device is inspired by a gadget to cheat the step-counter on your smartphone. Technology tricked by technology. Her movements, caught within a motion capture like tight suit deconstructing her body parts, talk of complex and conflicting emotions, but her face, from which we usually read how someone is feeling, is hidden. But is the machine that is observing her deconstructed and re-sequenced postures actually capable of recognizing what the body is communicating? Are we?
وكامبانا الاخوة
坎帕纳兄弟
האחים קמפנה
カンパーナ兄弟
БРАТЬЕВ КАМПАНА
Campanas/Woods
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FERNANDO CAMPANA
HOMAGE
R.I.P
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Inspired by Brazilian street life and carnival culture, brothers FERNANDO AND HUMBERTO CAMPANA combine found objects – such as scrap wood and scrap fabric – with advanced technologies to create a vibrant, energetic and definitely Brazilian approach to design.
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Die Brüder FERNANDO UND HUMBERTO CAMPANA lassen sich vom brasilianischen Straßenleben und der Karnevalskultur inspirieren und kombinieren gefundene Objekte – wie Holzreste und Stoffreste – mit fortschrittlichen Technologien, um einen lebendigen, energischen und definitiv brasilianischen Designansatz zu schaffen.
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Inspirados na vida de rua brasileira e na cultura carnavalesca, os irmãos FERNANDO E HUMBERTO CAMPANA combinam objetos encontrados – como sucata de madeira e sucata de tecido – com tecnologias avançadas para criar uma abordagem vibrante, energética e definitivamente brasileira ao design.
The Great Adventure of Material World
FILE FESTIVAL
The Great Adventure in Material World/Material World Knight is the most adventurous video game artwork that Lu Yang has created. The Great Adventure in Material World/Material World Knight has combined all the protagonists in Lu Yang’s artworks from the past and created an alliance of these heroes. In this video game, the world can be indefinitely explored by players. It has also incorporated several other elements created in various works from the artist before”. Once players enter the video game, they will transform into knights in this Material World. As protagonists of the alliance of heroes in the Material World, they will explore the Universe, absorb energy, be destroyed and achieve rebirth. They will fight all sorts of emotions, desires and eventually with themselves.
요르단 울프슨
ジョーダンウォルフソン
Female Figure
The stare of the animatronic sculpture is so intense, it would put anyone uncomfortable. The mask is probably there as a way to avoid creating a human face using animatronics but it also definitely adds to the creepiness of the overall look. The importance of the gaze is found throughout Wolfson’s work but it finds here a very special interpretation. He gives the ability to gaze to two different entities, a stripper and a robot, who are by definition never supposed to look up. The visitor is no longer in control of the situation, creating the awkwardness that is at the core of the work.
Fallen Water
Fallen Water explores questions about why humans are drawn to waterfalls and flowing water as a source for renewal. Waterfalls imbue subconscious associations with pristine and healthy drinking water, but what happens when the fountain can no longer renew itself? Is the water no longer pure? Cooley’s choice of subject matter strikes a deep chord with current social consciousness and anxieties about contemporary water usage and the drought crisis faced by the American West. Cooley references Blake’s famous quote from The Marriage of Heaven and Hell as context for the diametric opposites of the current water conundrum: our deep sense of entitlement to and dire dependence on this precious commodity, coupled with a pervasive obliviousness concerning the sources which supply it. As a way to connect with his personal water use, Cooley hiked into the mountains to see firsthand the snowpack (or lack thereof), streams, and aquifers which feed the water sources supplying his Los Angeles home. This multi-channel installation is an amalgamation of videos made over numerous trips to remote locations in the San Gabriel Mountains, the Sierra Nevada Mountains, and locales as far away as the San Juan Mountains in Southwestern Colorado. These disconnected video vignettes coalesce, constructing a large water landscape canvasing the gallery walls and floors – reflecting the disparate and widespread origin of Los Angeles’s drinking water. The colorspace within the videos is inverted, turning the water pink, orange and yellow—channeling an altered vision of water—in which something is definitely amiss: a stark reminder of the current water crisis in the state of California.
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Three Supermarkets
Three Supermarkets is an infinite loop film with a shopping cart riding across multiple coexisting fictional supermarkets. As the first episode of the Phygital Supermarket Trilogy, this film explores the hybrid compositing of the emerging physical and digital media and techniques. The production process of this film uses industrial-grade six-axis Staubli robot arm as shooting equipment, green screen shooting, volumetric video capture, photogrammetry, Cinema 4D Mograph, Redshift shading & rendering, 2D/3D compositing, and other custom build techniques and workflows. Familiar but neglected objects, such as apples and snack bags, were scanned as either static models or animated model sequences from the physical world to the digital space.
Voices of Aliveness
This project, upon the initiative of l’Ecole des Beaux-Arts de Nantes, has been conceived as a meta-monument where are gathered video sequences recorded by a camera with GPS. People are screaming while biking in a 500 m circle in the countryside. The traces of this route can be visualized thanks to lines that form a sort of tower in the virtual space, where it can go on indefinitely. On these lines, in an order that looks more like a music score than a succession of shootings, mobile video screens simultaneously display the image of the performances.
Light High
The installation LIGHT HIGH is aimed at guiding the perception through targeted acoustic and visual phenomena into border areas in which ambivalent experiences set in and the habitual experience of space is abolished.[…] A mirrored ceiling together with a thin reflecting surface of water on the ground and a grid arrangement of lights are creating the spatial illusion of an infinite vertical space of light and darkness. By traversing a small bridge, the visitor can cautiously discover the immersing endlessness beneath his/her feats and above his/her head.
Infinite Herbarium
Infinite Herbarium heeft tot doel onze ervaring van de uitgestrekte, diverse botanische wereld uit te breiden – door connectiviteit te creëren met planten en hun bedreigde ecosystemen. Via een proces van interactief leren en kunstproductie worden de ontmoetingen van deelnemers met echte planten gefilterd door datasets en historische archieven met behulp van een combinatie van Machine Learning (ML)-technieken. Verbindingen tussen botanie, data en kunst leiden tot fantasierijke ontmoetingen met merkwaardige hybride soorten – het creëren van een digitale weerspiegeling van de constante stroom van levende systemen.
La trahison des tapis
The title is a reference to the famous work by René Magritte “The Treachery of Images”. Even though the video installation alludes to it, the viewer is immediately aware that this is not a real carpet. What you see is an animation, a digital carpet, its contemporary variant. However, the patterns of the replica show that it could have been made in the west of Iran. The movements, which appear surreal, are reminiscent of a state of intoxication. Whether this was triggered by drugs, or only arose from the lively imagination of a tired child, is left to the speculation of the viewer. The work reflects the importance of traditional arts and crafts in the modern digital world. It is the first of a series of digital carpets.
The animation has a realistic resolution of 4k, is 03:55 minutes, and runs in an infinite loop on a 65-inch display.
BOB
Cheng’s work explores mutation, the history of human consciousness and our capacity as a species to relate to change. Drawing on principles of video game design, improvisation and cognitive science, Cheng develops live simulations – virtual ecosystems of infinite duration, populated with agents who are programmed with behavioural drives but left to self-evolve without authorial intent, following the unforgiving causality found in nature.
Photo: Andrea Rossetti
Micro-Utopia
In response to London’s pressing housing crisis Micro-Utopia proposes a shared, immersive and interactive version of a home, where space is born from the finely-tuned sensorial interplay between the body and virtual/physical objects connected to the Internet of Things. A chair invites us to stay with it for a moment; we crawl through a demanding fireplace; our hands are washed in a bowl of digital liquid – the highly speculative model of domesticity explores the architectural implication of co-inhabiting a minimal physical infrastructure within infinitely bespoke virtual worlds. Drawing on radical art practice, interiors in historical painting and contemporary product design, Micro-Utopia is the dream of a house that is nothing, but the parameters of our perception are triggered through the metaphorical dimension of the objects we interact with on a daily basis.
Bloom
Requiring no musical or technical ability, the egalitarian and user-friendly Bloom app enabled anyone of any age to create music, simply by touching the screen. Part instrument, part composition and part artwork, Bloom’s innovative controls allowed users to create elaborate patterns and unique melodies by simply tapping the screen. A generative music player took over when Bloom was left idle, creating an infinite selection of compositions and their accompanying visualizations. This version uses mixed reality with HoloLens.
HYPER FRACTAL
When I was a child I had some vivid dreams. They felt like I was falling and flying into an infinite multi-dimensional environment. They were satisfying and terrifying at the same time but I couldn’t find any explanation for them. 6 years ago I read about Benoit Mandelbrot’s theory, the fractals, and it changed my perspective. I realized that my dreams were fractals. So I tried to remake my dreams as a visual VR experience. According to Benoit Mandelbrot’s theory, Fractals are the mathematical\visual explanation of the nature’s structural geometry. Geometry for irregularity.
Città emotiva
Emotive City è una cornice per esplorare un modello mobile e auto-organizzativo per la città contemporanea. I modelli del passato sono limitati e non dovrebbero funzionare, in quanto progetti per il nostro futuro urbano, una nuova generazione di ricerca progettuale deve necessariamente affrontare le sfide di oggi. Le tendenze fisse e finite che un tempo servivano all’architettura e all’urbanistica sono state rese obsolete. Oggi le intersezioni di informazione, vita, macchine e materia mostrano complessità che suggeriscono la possibilità di una sintesi molto più profonda. In questo contesto, l’architettura è costretta a rifattorizzare radicalmente la sua risposta alle nuove sfide sociali e culturali con un ambiente di urbanizzazione accelerata. Proponiamo un quadro che partecipa e si impegna con gli ambienti ricchi di informazioni che stanno plasmando le nostre vite attraverso un modello di vita che chiamiamo ecologia adattiva.
Intuit
The movements of one individual effect the balance of the piece so greatly that the other person must move to balance the sculpture. ‘Our bodies are constantly adapting and bending to the configurations of buildings and the designs of transportation. In recent drawings, urban blueprints fuse with human anatomical representation… I emphasize on the ideas of flexibility and lightness. The machines I build serve to express the elegance of a gesture, a finite moment of equilibrium.’ Eve Bailey
AEA.movi
Imitation is a part of being human. Eelco Brand uses both paint and digital techniques to create images that reflect his conception of nature. In this sense his works are not so much the depiction of an actual place or event, but the way he imagined it and modelled it in the calculated space of digital art. Viewing his work can be both an alienating and deeply human experience. His subjects are modelled to the utmost detail to create a kind of hyperreal cosmos, a simulacrum of nature. Still, we experience these models of forests, cars and mountains as pure conveyers of meaning. These static images speak the language of scale, light, repetition, infinite detail and the deeper meaning of a simple gesture.
Emotive city
Emotive City is a framework to explore a mobile and self-organizing model for the contemporary city. Models of the past are limited and should not operate, as blueprints for our urban future, a new generation of design enquiry by necessity must address the challenges of today. The fixed and finite tendencies that once served architecture and urbanism have been rendered obsolete. Today the intersections of information, life, machines and matter display complexities that suggest the possibility of a much deeper synthesis. Within this context, architecture is being forced to radically refactor its response to new social and cultural challenges with an environment of accelerated urbanization. We propose a framework that participates and engages with the information-rich environments that are shaping our lives through a model of living that we call an adaptive ecology.
Structures infinies
Between the finite and the infinite, these mirror structures are reflecting the outside world until they are set in motion to unveil a moving and infinite interior. Hidden inside are superimposed diagrams reinterpreting certain theories or hypotheses related to our apprehension of the world. Between transcendental geometry, higher dimensions, finite and infinite, these structures arise as objects of reflection on what one understands, what one believes to understand and what one does not understand. The structure is thus referring to the finite physical structure that is encapsulating the infinity of intellectual structures created by the humankind.
Spectrum
How intensely can you experience colour? Colour as a phenomenon which you don’t just see, but which totally absorbs… Spectrum is a spatial installation that makes colour tactile and tangible.
Fall backwards into a black hole and reawaken in an infinite spectrum. An immersive experience which will give you a whole new perspective on the coloured cycles of our everyday light. Following Blaas and Curve, Spectrum completes a triptych centred on white space, each piece created with spatial designer Cocky Eek in collabaration with Schweigman&. In Blaas you crawl through an inflatable balloon; in Curve you enter an endlessly spiralling tunnel. Spectrum starts by asking: how can we make the colour physically tangible?
Waldian
Waldian is a standalone, wall hanging sound and light fixture capable of playing a near infinite amount of melodic permutations over a predetermined musical scale, complemented by emerging light patterns from twelve separate LEDs spread across the sculpture. In technical terms, Waldian contains two oscillators, an envelope generator and a voltage controlled amplifier, all controlled by impulses from a network of logic gates akin to those of early computers. These impulses are essentially the nerves in the electronic ecosystem, deciding over pitch and amplitude changes as well as creating bursts of light to highlight the entrances of each note. Finally, there is a tube overdrive stage that creates harmonic and subharmonics based on how far away the two oscillators are from each other in frequency. Most parameters are customizable, such as the aforementioned pitch, amplitude and overdrive, but the responsiveness and envelope of the light bursts can also be adjusted, directly affecting the appearance of the light patterns.
Distortions in Spacetime
In a giant star’s final moments, atoms compress to a point where density becomes infinite, time stretches to a stop and the gravitational field is so strong that not even light can escape: a black hole. But the force that creates this dark shadow also spews out a supernova explosion of matter that can eventually coalesce to form planets, plants and people. In Distortions in Spacetime, visitors will see themselves reflected in this matter and will begin to understand the cosmic connection between black holes, dying stars and our very existence.
فيكتور إثراء
ビクターはエンリッチ
ВИКТОР ЭНРИХ
The artist definitely made a strong impression on the world of visual arts with his concepts. The ideas behind all his illustrations are very strong and full of substances, and manage to grasp the attention of the public from the first second. Aside from that, he also sends other, more subtle messages, regarding his own perspective upon the world, how he deems everything as possible for those who believe and who understand the power of imagination etc. The works of Victor Enrich really are something special, and worth taking a closer look. Without further ado, we invite you to admire the results of his restless imagination, his bold symbolism and his courageous approach to life and the world around us.
Animistic Imagery
The exhibit introduces visitors to Duffy, the AI Artist, with an invitation to collaborate inside her Symbiotic Studio. This immersive space, made possible through projection mapping and interactive technology, invites guests to become the AI’s muse. As Duffy captures movements generated by visitors through real-time tracking, she draws links and connections, consulting a vast collection of colors and archetypal images of life on Earth. The result is an infinite series of surprising works of art—an artificial interpretation of humanity and the natural world.
The Rubik’s Contraption
“That was a Rubik’s cube being solved in 0.38 seconds. The time is from the moment the keypress is registered on the computer, to when the last face is flipped. It includes image capture and computation time, as well as actually moving the cube. The motion time is ~335 ms, and the remaining time image acquisition and computation. For reference, the current world record is/was 0.637 seconds. The machine can definitely go faster, but the tuning process is really time consuming since debugging needs to be done with the high speed camera, and mistakes often break the cube or blow up FETs. Looking at the high-speed video, each 90 degree move takes ~10 ms, but the machine is actually only doing a move every ~15 ms. For the time being, Jared and I have both lost interest in playing the tuning game, but we might come back to it eventually and shave off another 100 ms or so.” Ben Katz
T4T LAB
RADICAL RAUMPLAN
The real but withdrawn qualities of the raumplan of the Muller House can be understood as the unknown excess of the object. This is the space of the architectural project that exists beyond the limits of human cognition. Although this space is finite, it is vast and abundant. Any attempt to enter into this space must be somehow framed. As a metaphor, or a vehicle to frame the unknown excess, we take in part the idea of viewing, which is epistemologically important to the raumplan. Using this framework, our project attempts to go beyond our cognitive limitations and enter into the unknown space of the architectural project. From here, we can extract new spatial phenomena that can be notated into the known layer, to be understood by the architectural audience. For us, this means using a series of metaphors to frame our exploration of the unknown and attempt to extract new phenomena that engage the raumplan independent of its relationship to a human subject. This allows us to operate in a jective framework, allowing for an understanding of the object autonomously.
ДЖОН МАК-КРАКЕН
约翰·麦克拉肯
ジョン·マクラッケン
STAR, INFINITE, DIMENSION, AND ELECTRON
John McCracken’s work embodies a threshold of physical matter and infinite mind/space. In his own words, this ‘character,’ of his work has been indefinable and difficult to write about as an integral whole. Typically referred to as one of the leading West Coast counterparts to the Minimalist regime of Donald Judd, Carl Andre, Robert Morris, Dan Flavin, Sol Lewitt and Robert Bladen, McCracken’s work extends the architecture of Minimalism, complicates the surface of simulated or real machine production, and reflects a mysticism of transcendence.
The Infinite Crystal Universe
Pointillism uses an accumulation of distinct dots of color to create a picture. Here, light points are used to create three-dimensional objects. The light sculpture extends infinitely in all directions. People use their smartphones to select elements to throw The Infinite Crystal Universe. These elements are reborn in three dimensions, creating the artwork. The presence of people and their location within the work affect these three-dimensional elements, which in turn influence and are influenced by other elements in the space. This artwork is forever evolving, changing from moment to moment due to the people in the space.
Broken Panorama
The Specular series is a project that presents a set of audio-visual installations of different light sculptures created through the use of projected light and reflective materials.
Each sculpture redirects light in a different way and the reflective property of the material allows each sculpture to blend with its environment while also modifying our perception of its shape. Networks of algorithms generate interlinked sound and light. A cycle repeats but with infinite variations in multi-temporal-scales.
Morphosis
Morphosis uses artificial neural networks to create morphing images of scale. The system explores how natural structures from the most tiny to the most huge, share aesthetic properties, as recognized by the trained network, and recreated in continuous flowing sequence via these connections. It’s a study of the seemingly infinite nature of space and natural physical structure, which can loop back on itself to give endless visual exploration and variation.
Patterned by Nature
Patterned by Nature was commissioned by the North Carolina Museum of Natural Sciences for the newly built Nature Research Center in Raleigh, North Carolina. The exhibit celebrates our abstraction of nature’s infinite complexity into patterns through the scientific process, and through our perceptions. It brings to light the similarity of patterns in our universe, across all scales of space and time.
