Quantum Memories: Nature Studies
Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. These unique pieces of the “Quantum Memories” series exhibit arresting visuals and colors that speculate the probability of reaching invisible spaces. They are composed in collaboration with a generative algorithm enabled by artificial intelligence (AI) and quantum computing, a new form of computing that exploits the unusual physics of the subatomic world. It turns the visual data that flows around us into an artwork that represents our collective and digitized memories of nature and encourages the viewer to imagine the potential of this computing technology for the future of art, design, and architecture.

New Humans
In New Humans, emergent gatherings of synthetic humans rise from the surface of a black ferrofluid pool. Appearing to morph like a supernatural life form, these dynamic clusters of magnetic liquid produced by machine learning processes are images of communities of synthetic people–hybrid profiles modeled from actual DNA, fitness, and dating profile data sets sourced from public and leaked caches. The work questions how we can radically conceptualize the “user profile” to embody a self whose bounds are indefinable and multiple. Generative algorithm using machine learning (GAN, T-SNE) and fluid simulation (Navier Stokes), countour generation (OpenCV), user profile data caches (DNA, fitness, and dating), software production (Processing), ferrofluid, custom electromagnet matrix, custom PCB control system, computer, steel, wood, aluminum.

Transient
Transient – Impermanent paintings is an audiovisual concert for two motorized pianos and two conductors in collaboration with generative algorithms. Hyper-realistic digital brushstrokes articulate endlessly on a large-scale projection as if on a real canvas. Each brushstroke is sonified with a piano note, creating polyphonic synesthetic landscapes. The project continues Quayola’s research on traditional artistic techniques in the context of human-machine relationship, this time gradually withdrawing from formal subjects and giving way to the computational substance: the algorithm.

Spacestream
The project uses generative computational strategies to generate series of special stream paths within 3D space frame, giving it structural stiffness and aesthetic values. The generative algorithm is based on use of multi-agent systems, shortest path calculation, lattice stigmergy and structural analysis. The goal is to create continuously thickened bundle paths within the fuzzy 3D space frame structure, where the bundles double as camouflage and reinforcement for the joints/seams between the welded components, allowing for fabrication of large scale structures, mediating between the discreet components and continuous system.Space Stream is a student project which aims to explore influence of rule-based design systems on low-tech fabrication technique of welding. The research concentrates on wireframe structures, which are strengthened through subdivision of basic geometrical units and bundling and reinforcing of the main structural strands. The custom software used for this project is centered on Dijkstra’s shortest path algorithm in combination with agent-based modeling techniques.

FILE 2026

Digital Film Festival and AI Cinema: includes productions that explore new aesthetics, narratives, and processes enabled by digital and artificial intelligence technologies.  This language questions traditional notions of authorship, editing, scriptwriting, and directing, proposing new forms of expanded and computational cinema. Cinema ceases to be merely representational and becomes processual and adaptive. It is an emerging field that articulates aesthetics, technology, and critical reflection on the future of moving images and multiple narratives. The works may also explore machine learning algorithms, generative models, and automation as active agents in the construction of image, sound, and dramaturgy.

Applications were open until February 19, 2026. Access  the application form.

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Electronic Music and AI Festival: brings together interconnected fields of contemporary sound art, in which sound and technology operate as structuring elements of the aesthetic experience.  These approaches explore sound as spatial, sensory, and conceptual matter, articulating active listening, bodily presence, and synesthetic relationships between audio and video, through digital systems, generative intelligence processes, algorithms, field recordings, and audiovisual performances.

Applications were open until February 19, 2026. Access  the application form.

FILE 2026 | GENERAL REGULATIONS

Struct- Generative Realtime Audio-Visual Environment

The target of “Struct” was to create installation which could make immersive environment inside the space of public event dedicated to the opening of the office of an architectural company UNK Projects. It was planned to make this installation fully autonomic during the several hours as well as there was an idea to hold the public interested and immersed into the space of environment during the all period of time.

The main conception of the installation is to create the second alternative scale inside the internal space of the office. It was realized screen projection for this with the size of 18×4 meters and taken almost whole the length of the interior. The Animated surface was projected as the extension of the super-graphic situated on the facade of office`s building. The external graphic was created by Vladimir Garanin. The first one layer is the super-graphic onto the facade and another one layer is the real-time generative graphic inside the interior. The visual image and algorithmic sound of the whole structure are connected each other and are forming the whole organism.

Aquarela de Íons

Arthur Boeira e Gustavo Milward

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

Aquarela de Íons – Brazil

Aquarela de Íons is an artwork-device that translates solar flares and magnetic activity cycles into forces within the exhibition space. Inspired by satellites, the sculpture captures real-time data of solar activity, creating a data-driven artwork that reacts to the presence of viewers in an immersive and generative environment. The system translates spatial information into sound, light, and image, establishing an interface between the cosmos and human territory. The piece invites reflection on the impact of space weather—an aurora borealis brought to life, transforming astronomical data into an aesthetic experience.

BIO

Arthur Boeira has been conducting transdisciplinary research since 2015, exploring the philosophy of science and technology as applied to artistic practices. Gustavo Milward (Drawlim) specializes in interactive art and algorithmic narratives, investigating the relationship between body, space, and code.

Useless Hands

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

When our hands become useless, what will we choose to do with them? We can use AI to visualize the unthinkable, the strangely familiar yet indescribable forms and structures. Generative AI could be used as an amplifier of our ability to explore abstraction and surrealism rather than a simple mirror of our usual perceptions.

Bio

Infratonal is an artistic project led by Louk Amidou, a Paris-based multidisciplinary artist who works at the intersection of digital arts, electronic music and interaction design. He uses algorithms to create hybrid visual and sound pieces which aim to be performed by the human gesture as intangible instruments. He questions the artwork’s nature at the age of AI and the relationship between the artist and the algorithm.

Princess of Parallelograms
What will happen when our imagination itself is externalized in machines? Artificial intelligence constructs its own world-truth that is beyond our sensory perception. Generative Adversarial Networks (GANs) use algorithms to synthesize and generate images in a completely new way. These images have almost uncanny aesthetic characteristics, seeming to emerge from an ocean of data, a kind of pixel soup. Rather as if we were observing the emergence of artificial “thought.” The machine learns to understand the “essence” of a thing, be it an animal, the face of a celebrity or a body of text. It is then able to generate new images of this thing, including faces of celebrities who do not exist, mutant animals, or new texts. Eventually, AI will be capable of instantaneously and dynamically emulating all representations. The era of the optical machine and the capture of reality will then be at an end, supplanted by the era of machines that generate their own reality.

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.

Fifty Sisters, Series of fifty evolved digital plant images
Fifty Sisters is comprised of fifty 1m x 1m images of computer synthesised plant-forms, algorithmically “grown” from computer code using artificial evolution and generative grammars. Each plant-like form is derived from the primitive graphic elements of oil company logos.