The Sea

FILE 2024 | Installations
International Electronic Language Festival

The Sea is an extraction of a complex natural phenomenon, resulting in an artificial emulation that develops a life form of its own. Just like the sea with its endless waves, this artificial system follows the impact of an immersive state, leading to a unique vision of an artificial generator. Despite appearing chaotic, it is capable of generating associations ranging from the movement of waves to science fiction scenarios.

Bio

Paul Gründorfer develops process-related systems and explores variable or unstable conditions in the occurrence of sound when exposed to amplification, feedback, and multiple signal streams. His works focus on processes that evolve in a social space. Leo Peschta is an artist and researcher. During his studies, he worked in various fields of media arts, including sound, installations and software, developing over the years a special interest in robotics and machinery.

Credits

Austrian Embassy

The Forgettable Art Machine

FILE 2024 | Installations
International Electronic Language FestivalInternational Electronic Language Festival

The Forgettable Art Machine is an artificial intelligence-driven video installation. When facing the panel, the public has their image captured, starting a cycle of analysis, creation and destruction. From this data, a composite emerges, slowly transforming the visitors’ image into a generative visualization. Once the cycle is complete, the composition is deleted, waiting for a new audience to be captured.

Bio

Matthias Oostrik works at the intersection of digital art, installation art, cinema and architecture. His works establish unpredictable relationships between people and their surroundings. Using digital technology, his installations allow visitors to reshape their environment and their relationships with each other. Oostrik collaborates with renowned professionals and, above all, with his audience, who often become an integral part of his work.

Credits

Co-production: Zester
IA Music: Than van Nispen

Audio Responsive Treehouse

FILE 2024 | Architectural Synthetics
International Electronic Language Festival
Hassan Ragab – Audio Responsive Treehouse – United States

This work, created using generative artificial intelligence tools, is part of a broader exploration into discovering architectural forms through the intersection of different media. Potential shapes are generated based on the rhythms and timbres of the Shockone vs. Shockone song Run. The Bloody Beetroots. Factors such as camera movement and dynamics between the interior and exterior of the treehouse contribute to the creative process.

Bio

Hassan Ragab is an interdisciplinary media artist, architect and designer whose work focuses on the synergy between art, architecture, technology and humanity. He uses generative artificial intelligence to create a new visual language, and his work is exhibited globally. Additionally, Hassan writes about the integration of new media into art and design and has been recognized in numerous publications and news outlets.

Around The Milky Way

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival

Valentin Rye – Around The Milky Way

In the distant future, several species inhabit the Milky Way. This scenario inspired the video, aiming to portray various forms of life and evoke a plausible atmosphere. Using images he created, the artist experimented with Stable Video Diffusion, a new video generation method. The objective was to expand the limits of this neural network and improve its output, resulting in the conception of this video.

Bio

Valentin Rye is a self-taught machine whisperer based in Copenhagen, deeply passionate about art, composition and the possibilities of technology. He has been involved in AI and neural network image manipulation since starting DeepDream in 2015. While his IT work lacks creativity, he indulges in digital arts during his free time, exploring graphics, web design, video, animation and experimentation with images.

Space Odyssey 2002

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Valentin Rye – A Space Odyssey 2002 – Denmark

This video offers a surrealist take on futuristic sci-fi concepts from the 60s and 70s. Imagine a future colonization of Mars where interior design is given an avant-garde twist. It was created by brainstorming visual ideas, generating countless images, refining the best ones and assembling them into clips. After careful selection, these clips have been organized into a cohesive timeline, accompanied by atmospheric music to enhance the overall experience.

Bio

Valentin Rye is a self-taught machine whisperer based in Copenhagen, deeply passionate about art, composition and the possibilities of technology. He has been involved in AI and neural network image manipulation since starting DeepDream in 2015. While his IT work lacks creativity, he indulges in digital arts during his free time, exploring graphics, web design, video, animation and experimentation with images.

The Legend of Ogie

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
SurrealismToday.com – The Legend of Ogie – United States

What worlds exist beyond Einstein’s speed limit? Inspired by Eric Weinstein’s theory of Geometric Unity, the work explores the idea that space-time is like a melody playing over an eight-dimensional universe. Abstract and metamorphic forms transition from organic forms to parastatic patterns, creating a dance of visuals and sounds that merge into an immersive experience of fractal unfolding.

Bio

SurrealismToday.com is an artist collective and educational platform dedicated to the proliferation of surreal and visionary ontologies in contemporary art. The group began as an esoteric cargo cult dedicated to discovering the beautiful, the fantastic, and the transcendent in the pseudo-philosophical landscape of the art world. His methods include searching for gems in the digital world and infusing mystical enchantments into generative diffusion models.

Kelly Luck
Strangeland 1 (excerpt)

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Kelly Luck – Strangeland 1 (excerpt) – United States

From a surrealist point of view, the main attraction of generative AI, for the artist, is its lack of memory. At any given moment, she only has the current frame and instructions on how to proceed, similar to free association in dreams. This work is part of a series of long-term environments designed to immerse the viewer in a constantly evolving and never-ending landscape, inviting relaxation and engagement.

Bio

As part of the first generation to grow up around computers, Kelly Luck quickly became fascinated with the creative possibilities of this new technology. Her journey has ranged from pixel art and graphic ‘hacks’ to the 90s demoscene, 2D and later 3D graphics, and now the modern tools of digital art. With the emergence of generative AI, it endlessly explores how technology continues to blur the line between imagination and reality.

Useless Hands

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Infratonal – Useless Hands – France

From a surrealist point of view, the main attraction of generative AI, for the artist, is its lack of memory. At any given moment, she only has the current frame and instructions on how to proceed, similar to free association in dreams. This work is part of a series of long-term environments designed to immerse the viewer in a constantly evolving and never-ending landscape, inviting relaxation and engagement.

Bio

As part of the first generation to grow up around computers, Kelly Luck quickly became fascinated with the creative possibilities of this new technology. Her journey has ranged from pixel art and graphic ‘hacks’ to the 90s demoscene, 2D and later 3D graphics, and now the modern tools of digital art. With the emergence of generative AI, it endlessly explores how technology continues to blur the line between imagination and reality.

Schizophrenia

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Gabi Szita (aka Sieve) – Schizophrenia – Hungary and Iceland

This work delves into the artist’s deep interest in mental illness, especially schizophrenia, through images and sound.

Bio

Gabi Szita, aka Sieve, began generating images with Midjourney in December 2022. She has generated over 400,000 images to date using her private bot on Discord, specializing in wall-sized images available on demand. She can create complete exhibitions with her vast collection. In 2023, she started creating videos from some of her images, with Schizophrenia being one of her favorite videos.

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.

Squid

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Verbo Pluriel (aka volt46) & XWave – Calamar – United States and France

The Calamar music video is comprised of AI-generated clips that are sequenced and synchronized to create a hypnotic, ever-changing landscape.

Bio

Verbo Pluriel is an electronic music producer who has been active in the NFT scene since 2020 under the name volt46. X-Wave is also an NFT producer that trains its own AI models to generate collections. Although they never met in person, their participation in the web 3.0 art collective Based Ghouls led to their collaboration.

Credits

Music: Calamar (Kraken Mix) by Verbo Pluriel
Music Video: volt46
AI Video Generation: XWave

Bodydub

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Dennis Schöneberg – Bodydub – Germany

This video experiment combines music properties with AI generation settings to create a unique audiovisual experience. The synthesizer works as a control instrument for movement in the 3D space of the video.

Bio

Dennis Schöneberg, German AI artist, data science student and developer of open source AI models, integrates his passion for electronic music into his creative endeavors. Merging art with technology, he explores the synergy between creativity and artificial intelligence.

Credits

Music: Bodydub (Bangkok Impact Remix) by Unit4

KTTV
This documentation video captures a few minutes of a continuous, generative collage. The source for the collage is one hour of edited signals captured from KTTV (198 – 204 MHz @ 34°13′29″N, 118°3′47″W) in August 2015.
The sound was created by Philip Rugo

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KTTV Cette vidéo de documentation capture quelques minutes d’un collage continu et génératif. La source du collage est une heure de signaux édités capturés par KTTV (198 – 204 MHz @ 34°13′29″N, 118°3′47″W) en août 2015.

Le son a été créé par Philip Rugo

MAN-NAHĀTA
Computational growth across material and urban scales offers a framework for design through self-organization, enabling the generation of vast, diverse forms exhibiting characteristics like those that emerge through the biological growth processes found in Nature. In this project, we construct an oriented volume spanned by surface normals of the shape at every point. The value of the oriented volume drives the iterative deformation of the shape. Depending on the parameterization of this process, we can obtain distinctly different growing forms. Importantly, the emergence of these forms is driven only by the time evolution of a geometric operator acting on the shapes iteratively, thereby connecting geometry and growth through an algorithm. To form the Man-Nahata landscape, the buildings of the urban landscape are transformed through repeated morphological closing operations, where the field of influence follows a gradient from the center to the outskirts of a circular region.

Figure Discrete
Esecutori umani incontrano corpi generati dal computer, visualizzazioni calcolate del movimento incontrano droni svolazzanti! L’intelligenza artificiale e le macchine di autoapprendimento fanno apparire questa tavolozza inedita di progetti di movimento, progetti che trascendono di gran lunga i confini dell’articolazione umana, consentendo uno sguardo profondo nel mondo astratto dell’elaborazione dei dati. Il team di Rhizomatiks Research, guidato dall’artista, programmatore, designer dell’interazione e DJ giapponese Daito Manabe, riunisce il potere collettivo con un numero di esperti, tra cui i cinque ballerini ELEVENPLAY del coreografo MIKIKO e dell’artista di programmazione Kyle McDonald. Il risultato è un’immagine mozzafiato, realizzata magnificamente, insomma: visivamente sbalorditiva.

CMY Shadows Mirror
“CMY Shadows Mirror” es un espejo interactivo escultural capaz de reproducir reflejos a todo color. Como la inversa del “RGB Peg Mirror” de Rozin (2020), esta pieza utiliza un modelo de color sustractivo para enmascarar la luz que normalmente se reflejaría, lo que da lugar a una imagen similar a un monitor de computadora o TV. “CMY Shadows Mirror” tiene dos modos de operación: un período interactivo donde el espectador se refleja y una función generativa donde la pieza se anima según varios algoritmos para mostrar una exhibición brillante de colores vibrantes y ondulantes.

Breed
Breed (1995-2007) is a computer program that uses artificial evolution to grow very detailed sculptures. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfils this “fitness” criterion and thus yields a workable form. The designs were initially made in plywood. Currently the objects can be made in nylon and in stainless steel by using 3D printing techniques. This automates the whole process from design to execution: the industrial production of unique artefacts.
Computers are powerful machines to harness artificial evolution to create visual images. To achieve this we need to design genetic algorithms and evolutionary programs. Evolutionary programs allow artefacts to be “bred”, rather than designing them by hand. Through a process of mutation and selection, each new generation is increasingly well adapted to the desired “fitness” criteria. Breed is an example of such software that uses Artificial Evolution to generate detailed sculptures. The algorithm that we designed is based on two different processes: cell-division and genetic evolution.

Windvogel
WINDVOGEL are energy generating kites which create up to 100 kW and can supply about 200 households with green energy. Floating in the air, the smart kites move around and are connected with a cable to a ground station. This push and pull of the cable transforms into electricity, like the dynamo of a bicycle.

anarcity

AnarCity investiga e projeta a cidade anarquista. Uma cidade sem governança e coletividade. Uma cidade sem regras. Tem como objetivo simular a situação anarquista final e registrar o que, quando e onde isso deu errado. E onde leva a melhores desempenhos do que a cidade regulamentada. O projeto é baseado no uso de processos generativos interativos que são testados em um modelo abstrato de cidade ou em uma cidade real. Ele mapeia o crescimento da densidade no tempo para explorar a relação entre densidade e anarquia.

توماس هيرشهورن
托马斯·赫塞豪恩
תומס הירשהורן
トーマス·ヒルシュホルン
abschlag

Thomas Hirschhorn’s “Abschlag” installation, which occupies the first room on the main floor, offers a lesson in how not to engage with the Russian milieu: the Swiss artist constructed part of a typical Petersburg apartment block out of cardboard inside the full-height space, ripped off its façade, and deposited the refuse at its base, revealing shabby interiors lined with original avant-garde masterpieces (on loan from the nearby Russian Museum) by the likes of Malevich and El Lissitky. The references allude to a politically radical Russian past; the construction debris acts as a metaphor for history. Though Hirschhorn suggests a recovery of the revolutionary communist spirit of the 1920s, he falls prey to a historically revisionist fetish: citing the Russian avant-garde as a generative point for vanguard culture in the West, and offering it as a source for renewed progressivism in Russia. Hirschhorn seems woefully unaware of the Putin government’s branding campaign, one that aims to sell the Russian avant-guard as a nationalist movement in line with the regime’s own values (perhaps he didn’t watch the Sochi opening ceremony). Hirschhorn ultimately proves Zhilayev right — with its political pretenses, “Abschlag” aspires to make a grand gesture against conservatism, but fails because its critique has already been co-opted..
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SMSMS-SMS Mediated Sublime

CIMs-Collective Intelligence Machines

“In 2000, I began to connect some of these computers to the mobile phone network (SMSMS-SMS Mediated Sublime, and CIMs-Collective Intelligence Machines). This enabled me to make interactive and multiple installations, connecting various locations.
In this case the flow of images was made visible by large-scale video-projections and the members of the audience were able to modify their characteristics in real time, by sending new inputs to the system from their own phones. This was done in a similar way to certain applications used in electronic democracy. What I had in mind was art which was generative, interactive and public.”

Patriots, citizens, lovers was developed in conversation with Ukrainian journalist Maxim Ivanukha as a commission of the PinchukArtCentre’s Future Generation Art Prize 2014 and is composed of ten urgent interviews with Ukrainian LGBTI and queer activists who discuss the critical and dire situation of lesbian, gay, trans and intersex lives in Ukraine in times of war[…] Social invisibility, physical and psychological abuse, political violence, and a deeply patriarchal culture frame the context for the difficult work of LGBTI activists who denounce discrimination and demand the transformation of the system.

Degenerative Imaging (Early Dementia)

Leistungspixel
Die Power Pixels-Ausstellung besteht aus zwei generativen und interaktiven Virtual-Reality-Installationen: Complex Meshes 2020 und Oscillations 2020, eine Arbeit, die erstmals der Öffentlichkeit präsentiert wird. Oscillations 2020 ermöglicht eine grafische 3D-Visualisierung der Musik von Michel Redolfi. Eine Wellenform wird in Echtzeit entsprechend den Frequenzen und Amplituden der Musik erzeugt. Diese Klangspektren der verschiedenen Musikklänge erzeugen endlose imaginäre Landschaften. Bild und Musik reagieren in einer Verschmelzung emotionaler Natur aufeinander, die zu einer echten Synästhesie beiträgt.

Threshold Release Ornament
MSHR is the art collective of Birch Cooper and Brenna Murphy. The duo collaboratively builds and explores systems composed of sound, light, sculpture, software and circuitry. Their practice is a self-transforming cybernetic entity with its outputs patched into its inputs, the resulting emergent form serving as its navigational system. These outputs primarily take the form of installations and performances that integrate interface design with generative systems and a distinctive formalist approach. MSHR’s name is a modular acronym, designed to hold varied ideas over time. MSHR emerged from the art collective Oregon Painting Society in 2011 in Portland, Oregon, USA.

Avant toutes disparitions
“Before any disappearance“, it is urgent to live, to dance, especially to transmit. By continuing his playful exploration of the history of dance and in particular by defeating the codes of ballroom dancing, the current director of the Center chorégraphique de Tours once again imposes an intergenerational vision of his art.

Derivations
“A collaboration with Symmetry Labs at Gray Area Foundation for the Arts in San Francisco. Derivatives of multiple generative rules I designed in the past were adapted to an interactive LED floor. The video demo includes 6 visual sets and transitions in between. Set 01 is an adaption of 1DFBD, which was also used in a couple of projection mapping tests in 2014. Set 03 is derived from an untitled turbulence piece created in 2014 as well. Similar to Set 03, all agents in Set 04 are driven by 3D Perlin Noise flow field. However, instead of being an emitter spawning agents, each dot functions as an attractor intervening in the flow, same way as it did in 2BCD.”Raven Kwok

Until I die
This installation operates on unique batteries that generate electricity using my blood. The electric current produced by the batteries powers a small electronic algorithmic synth module. This module creates generative sound composition that plays via a small speaker. The blood used in the installation was stored up gradually over 18 months. The conservation included a number of manipulations to preserve the blood’s chemical composition, color, homogeneity and sterility to avoid bacterial contamination. The total amount of blood conserved was around 4.5 liters; it was then diluted to yield 7 liters, the amount required for the installation. The blood was diluted with distilled water and preservatives such as sodium citrate, antibiotics, antifungal agents, glucose, glycerol etc. The last portion of blood (200ml) was drawn from my arm during the performance presentation, shortly before the launch of the installation.

Мигель Шевалье
ミゲル·シュヴァリエ
מיגל שבלייה
미구엘 슈발리에
Power Pixels
L’exposition Power Pixels se compose de deux installations de réalité virtuelle génératives et interactives : Complex Meshes 2020 et Oscillations 2020, oeuvre présentée pour la première fois au public. Oscillations 2020 permet une visualisation graphique en 3D de la musique de Michel Redolfi. Une forme d’onde se génère en temps réel selon les fréquences et les amplitudes de la musique. Ces spectres sonores des différents sons de la musique génèrent des paysages imaginaires à l’infini. Image et musique se répondent dans une fusion de nature émotionnelle qui participe à une véritable synesthésie.

Vuslat
Tanabe was born to one of Japan’s most prestigious bamboo pedigrees and is the fourth generation of his family to take the artist name Chikuunsai, meaning “master of the bamboo clouds.” Tanabe works hard to keep his family’s legacy alive by mastering the styles and techniques that the Tanabe family is known for, while also establishing his own original artistic voice.

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.

真鍋 大 度
Perfume

Perfume is Japan’s top techno-pop girl trio – Nocchi, Kashiyuka and Aa-Chan – whose music and synchronised dance sessions have won them a global online fan base. This year they have had their first sellout European tour. Their distinctive sound is the work of Japanese electronic music guru Yasatuka Nakata who has been their music producer since 2003. Their stunning performance at the Lions International Festival of Creativity at Cannes recently was the result of their collaboration with leading Japanese techno-artist Daito Manabe. Manabe is one of a new generation of programmers whose genre-crossing work has placed him at the cutting edge of techno-art-music-performance. His art embraces dynamic sensory programming, projection mapping and body capture; lasers, robots and sonar.

The Source
The Source, an eight storey high kinetic sculpture, is the new symbol for the London Stock Exchange. Every morning, millions of viewers around the world will watch the installation come to life, signifying the opening of the London Markets.
“The Source is formed from a grid of cables arranged in a square, 162 cables in all, reaching eight stories to the glass roof. Nine spheres are mounted on each cable and are free to move independently up and down its length. In essence the spheres act like animated pixels, able to model any shape in three dimensions a fluid, dynamic, three dimensional television.Visitors to the atrium are greeted by this motion: its particles rising and falling, generating an infinite range of figurative and abstract shapes that rise, dissolve and reform at different heights in the atrium. The shape of the sun rising on a new day of trade, the names and positions of currently traded stocks, the DNA helix at the center of life formed by the work, and floating in the 32m void of the atrium.”

Jennifer Steinkamp uses computer animation to create video projections and immersive installations, dynamic works that explore the relationship between architectural space, motion, and perception. When projected, Steinkamp’s dimensionally modeled images create the illusion of receding space, generating a dialogue with the real space occupied by the viewer. Steinkamp’s imagery ranges from abstract undulating forms to subjects drawn from nature, such as the cascade of flowers in her 2008 series, “It’s a nice day for a white wedding.”

Reface [Portrait Sequencer]

Reface [Portrait Sequencer] by Golan Levin and Zachary Lieberman (2007) is a surreal video mash-up that composes endless combinations of its visitors’ faces. Based on the Victorian “Exquisite Corpse” parlor game, the Reface installation records and dynamically remixes brief video slices of its viewers’ mouths, eyes and brows. Reface uses face-tracking techniques to allow automatic alignment and segmentation of its participants’ faces. As a result, visitors to the project can move around freely in front of the display without worrying about lining up their face for the system’s camera. The video clips recorded by the project are “edited” by the participants’ own eye blinks. Blinking also triggers the display to advance to the next set of face combinations. Through interactions with an image wholly constructed from its own history of being viewed, Reface makes possible a new form of inventive play with one’s own appearance and identity. The resulting kinetic portraiture blends the personalities and genetic traits of its visitors to create a “generative group portrait” of the people in the project’s locale.

clear orb

“The sustainable architectural culture that aspires the coexistence of human, nature and the architecture itself” is a core value of Heerim Architects and Planners in South Korea, the team behind a sparkling orb designed for Santa Monica Pier. A finalist in the biennial site-specific 2016 Land Art Generator Initiative design competition, which promotes the uptake of energy-generating public art that informs, delights, and uplifts communities and visitors, The Clear Orb reveals a playful approach to holistic design. Using transparent luminescent solar concentrators, the installation is purportedly capable of producing up to half-a-million gallons of fresh water each year for California.

Джузеппе Рандаццо
transmutation
Transmutation#01 is a generative system composed of two interacting multicellular agents in a Voronoi spatial configuration. Each cell owns a color/saturation information. The cells interact with each other and with the other agent. The two agents are different. The circular one, the most active and in evolution, constantly tries to reorganize its shape and color structures, connecting similar colors in concentric formations. Moreover the saturation and shape of its colors aggregates are influenced by the duration and proximity of the interaction with the other pluricellular agent, whose motion is abstract and immutable. The metaphor at the heart of this system is a reference to the subject of the 2012 Gender Docufilm Festival in Rome, from which the video was commissioned, that precisely addresses the issues related to the the reengineering and the transmutation of the sexual, physical, mental identity, through the collision / confrontation with the external reality. Coded with Processing, rendered with 3Delight (via Processing). In collaboration with Filippo Ulivieri, music by Massimo Dolce.

Street Views

Jennifer Steinkamp uses computer animation to create video projections and immersive installations, dynamic works that explore the relationship between architectural space, motion, and perception. When projected, Steinkamp’s dimensionally modeled images create the illusion of receding space, generating a dialogue with the real space occupied by the viewer. Steinkamp’s imagery ranges from abstract undulating forms to subjects drawn from nature, such as the cascade of flowers in her 2008 series, “It’s a nice day for a white wedding.”