Voices In Your Head
There is no better way to measure the influence we exert upon humans than through making them change their behaviour in real time. This is what Iregular’s digital interactive artworks are all about: they attempt to create a language so clear and so universal that it allows the communication between the interactive art piece and the human to flow intuitively every time, without any instruction in sight, as if guided by a voice running through the head.
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 synthetic 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
EGO
FILE 2024 | Installations
International Electronic Language Festival
The mirror stage in psychology explains how the Ego forms through objectification, where one’s visual appearance comes into conflict with emotional experience, a concept called ‘alienation‘ by psychoanalyst Jacques Lacan. The interactive installation EGO reenacts and reverses this process by distorting the mirror image based on the user’s movements, highlighting the tension between the real and the symbolic, the Ego and the It, subject and object.
Bio
Klaus Obermaier is an interdisciplinary artist, director and composer who creates innovative works in the performing arts, music and installations using new media. Stefano D’Alessio researches social issues induced by the internet and explores how the web and its derivatives influence human behavior and the body. Martina Menegon creates intricate assemblages of physical and virtual elements, exploring the contemporary self and its hybrid corporeality.
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 synthetic 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
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 synthetic 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
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 synthetic 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
Reimagine Social Distancing: Interactive Art for Post Pandemic Cities
Un jour dans la vie des grandes villes, des millions d’étrangers passent à quelques centimètres les uns des autres – dans les stations de métro, les trottoirs, dans les rues publiques. Nous sommes un réseau d’étrangers se déplaçant si près que cela devient parfois une expérience déshumanisée. Dans ces instants fugaces passés dans des espaces interstitiels, nous nous trouvons détachés de l’état présent où nous sommes parmi l’essaim humain. Cette installation explore comment les villes surpeuplées influencent notre sens de l’espace personnel, à travers un environnement interactif en temps réel qui suit nos données spatiales. Il examine comment nos barrières mentales sont fluides, adaptables et finalement destinées à être brisées, de sorte que notre sens de l’espace est élargi grâce à l’interaction avec les autres.
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.
Unreal
Lawrence’s accompanying soundtrack is a delicate lattice; complex, opaque and entirely synthetic. Diva’s yearning vocals, sung in English and Mandarin, cast classical melodies over billowing, intricately arranged songs. Her voice is created with a Vocaloid voice synthesiser, giving it an uncanny feeling. Her confessional lyrics draw empathy from the listener, as she reveals her fears of becoming an irrelevant influencer, obsolete in a machine-driven age.
The lead single ‘ unreal’ is launched with a harrowing video adapted from the film.
‘Semi-Diurnal Spaces’ is a site specific immersive installation in form of a full dome which makes use of local tidal and atmospheric data of South Wales. Locals were invited to experience their close-by waterbody through a meditative environment, connecting to it in a poetic, technological and tele present way. Tidal patterns and atmospheric data such as wind and humidity influence a digital NVIDIA FleX particle system in real-time. The site-specific data influences the gravitational forces, fluid viscosity and flow rate within the dome as a body, resulting in a living digital sculpture and AV experience connecting to aspects of the channel itself.
休克雷奇默尔
ХЬЮ КРЕЧМЕР
guggenheim
Décrivant son travail comme « une fusion de différentes influences absorbées depuis des années », l’artiste tire principalement ses inspirations des peintures et sculptures du XXIe siècle. Travaillées et colorées, ses œuvres humoristiques, cyniques et ironiques sont une véritable mise en scène du quotidien. Amateur de la juxtaposition et de ses manipulations virtuelles, l’artiste-sculpteur d’images, fait entrer le spectateur dans un tourbillon imaginaire façonné par sa main.
INFLUENCER
“There is a certain kind of social criticism in each publication, but they do not correspond to specific facts. I enjoy playing with common situations and presenting them in an ambiguous and uncomfortable way. For me, it is not important to focus on the content too much in one direction because I seek to agitate the spectator and force them to think for themselves. They must find their own explanation to what they are seeing,” Extraweg
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„In jeder Veröffentlichung steckt eine gewisse Art von Gesellschaftskritik, aber sie entsprechen nicht bestimmten Tatsachen. Es macht mir Spaß, mit alltäglichen Situationen zu spielen und sie mehrdeutig und unbequem darzustellen. Mir ist es nicht wichtig, den Inhalt zu sehr in eine Richtung zu fokussieren, denn ich versuche den Zuschauer zu agitieren und zum Mitdenken zu zwingen. Sie müssen ihre eigene Erklärung für das Gesehene finden.“ Extraweg
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« Il y a une certaine forme de critique sociale dans chaque publication, mais elles ne correspondent pas à des faits précis. J’aime jouer avec des situations courantes et les présenter de manière ambiguë et inconfortable. Pour moi, ce n’est pas important de trop se concentrer sur le contenu dans un sens car je cherche à agiter le spectateur et à le forcer à penser par lui-même. Ils doivent trouver leur propre explication à ce qu’ils voient » Extraweg
Interactions du corps abstrait
Avec “Interactions of the Abstract Body”, McElheny a poussé ces idées plus loin, créant un ensemble de travaux vaste et varié qui examine comment la mode et le modernisme se sont entrecroisés et influencés, en particulier à travers le langage commun du corps. Fondamentalement, McElheny a animé cette dynamique avec la présence constante d’un interprète. En combinant une performance continue en chair et en os avec une sculpture statique dans le même espace de galerie, une première pour White Cube, McElheny rompt radicalement la distinction entre performance et exposition.
sanctum
Zach Blas（United States、1981）の作品は、テクノクラート社会の限界と基盤を描くことを目的として、視覚言語の慣習、価値体系、デジタル技術に内在する力のダイナミクスをさまざまな文脈で分析、調査、配置しています。 。 彼の分析とデジタル文化への反映のために、彼は映画、彫刻、執筆、パフォーマンスなど、さまざまな表現形式を使用しています。 ブラスはブラックユーモアと理論的研究に取り組んでおり、彼の最も顕著な影響の中には、神秘主義の伝統、サイエンスフィクションのジャンル、ポップカルチャー、クィアの美学があります。
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sanctum
The work of Zach Blas (United States, 1981) analyzes and explores the dynamics of visual language practices, value systems, and the forces inherent in digital technology in a variety of contexts, with the aim of depicting the limits and foundations of technocratic societies. I have placed it. .. For his analysis and reflection in digital culture, he uses a variety of forms of expression, including film, sculpture, writing and performance. Brass works on black humor and theoretical research, and among his most prominent influences are the mystical tradition, the genre of science fiction, pop culture, and the aesthetics of queer.
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.
The Heart Chamber Orchestra
File Festival – Hipersonica
In the TERMINALBEACH Heart Chamber Orchestra (made up of artists Erich Berger and Peter Vatava), twelve musicians played pieces from the heartbeat, recorded by an electrocardiogram from data sent by sensors placed on their bodies. As the live score created in real time from the physical and emotional states of the musicians, their beats further influenced the resulting musical composition. In this way, the biological feedback loop becomes a self-generating, organic and evolving system, which creates a musical score and a show that adopts the form of open or network art, in which chance and interdependence, thus how emotional changes and computational reasoning create a biological and psychological dynamic at the same time.
DNA (genes)
A gene is a sequence of DNA that contains genetic information and can influence the phenotype of an organism. Within a gene, the sequence of bases along a DNA strand defines a messenger RNA sequence, which then defines one or more protein sequences. The relationship between the nucleotide sequences of genes and the amino-acid sequences of proteins is determined by the rules of translation, known collectively as the genetic code. The genetic code consists of three-letter ‘words’ called codons formed from a sequence of three nucleotides.
Climat General College des Bernardins
Se référant à l’« Hypothèse Gaïa » de James Lovelock, Malrieux transforme la figure de Gaïa en une machine climatique autonome qui affiche un espace dynamique et organique, construit selon des flux de données empruntés aux principaux modèles climatiques prédictifs. A travers différents scénarios programmatiques, l’artiste met en évidence l’influence de l’homme sur son environnement, un environnement en perpétuelle mutation dont la fin ne peut être programmée. Car si l’entrée dans l’anthropocène marque la fin d’une Terre en extension, elle marque surtout le début d’autre chose : une situation différente dans le temps et dans l’espace. Un espace où le décor est en mouvance et dans lequel l’histoire humaine s’adapte et évolue.
L’usage simultané du dessin et des algorithmes permet de visualiser des interactions et des causes à effets habituellement invisibles, de les décoder et d’en interroger les enjeux.
The Decelerator Helmet
The technique of the Decelerator extends the awareness of time and transforms the concept of present in a constructed, artificial state. On a different Level the helmet dramatically visualizes how slowing down under all circumstances causes a loss of actuality and as idea is inconsistent with it´s Environment. Technical enhancement as a tool to give us control about our perception, asks the question how far this influence can go, before we are all lost in how we want to see reality. The Decelerator unintentionally explores how aspects of this shift to a personalized perception could change our view of the world.
ROTOЯ
The Rotor is equipped with a four channel speakersystem and a 360° camera. The artists control the speed of it’s rotation which directly influences the projected video-images as well as the sound-characteristics and the perception of the object itself. Acceleration & deceleration become main parameters, which enables the artists to compose an otherworldly piece that seems to follow it’s own logic. A strange communication between audio, video, object and light establishes itself and seduces the audience. There is the hypnotic movement of the sculpture while inevitable auditory and visual feedback is used as a central aesthetic element: The rotating speakers are amplified by static microphones, provoking complex feedback loops and patterns, that trigger psychoacoustic sensations.
Down with Wrestlers with Systems and Mental Nonadapters!
file festival
“The work of Dmitry Kawarga normally deals a lot with ideas of biomorphism. A term and a small branch in art history that was very much influenced and formed by Hans Arp. Not just remaining in biomorphism, like Arp, Kawarga adds a whole new social and urban dimension to the works that make us think of terms like ”rhizome” developed by the post-structuralists Deleuze and Guattari. For Dada Moscow, Kawarga invented a totally new work, which seems to be quite different from the abstract biomorph works he normally does. It is an interactive installation that brings up a very powerful sense of the machine and technology fascination the society before the WWI had and it also shows the brutal consequence this fascination had. Kawarga creates a machine that brings the ideas of social models totally to the absurd.” Adrian Notz
File Festival
Paul Robertson is an Australian animator and digital artist who is known for his pixel art used in short films and video games. He is mostly known for Scott Pilgrim Vs. the World: The Game and the recent release, Mercenary Kings. Apart from his seasoned career as a game designer and movie creator, Robertson has been recently spotted on Tumblr with these GIFS. His interest in inserting flashing neon colors, geometric shapes, Japanese character animation, and 1990′s computer imagery, deems his work as heavily influenced by the Seapunk/Vaporwave aesthetic.
Shirley
Visions of reality
FILE FESTIVAL
Shirley is a woman in America in the 1930s, ‘40s, ‘50s, and early ‘60s. A woman who would like to influence the course of history with her professional and socio-political involvement. A woman who does not accept the reality of the Depression years, WWII, the McCarthy era, race conflicts and civil rights campaigns as given but rather as generated and adjustable.
Edward Hopper movie
Bildverarbeitungsmaschine
Björn Schülke ist von den kinetischen Skulpturen des deutschen Klangkünstlers Peter Vogel und Jean Tinguely beeinflusst und schafft komplexe vom Betrachter aktivierte Maschinen, die Bewegung, Überwachung und Klang kombinieren.
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Björn Schülke é influenciado pelas esculturas cinéticas dos artistas sonoros alemães Peter Vogel e Jean Tinguely e cria máquinas complexas ativadas pelo espectador que combinam movimento, vigilância e som.
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Björn Schülke is influenced by the kinetic sculptures of the German sound artists Peter Vogel and Jean Tinguely and creates complex machines activated by the viewer that combine movement, surveillance and sound.
Ufabulum
Soundcrash are proud to present the electronic music innovator that is Squarepusher! Beginning his sonic experiments in 1994, Squarepusher constantly strives to push the boundaries and limits of electronic music. In May 2012 Squarepusher unleashed his latest musical venture ‘Ufabulum’, an album of music generated purely from digital programming, ensuring his influence within today’s global music electronic scene is as vital as ever. For his first headline ‘Ufabulum’ album show in London, Squarepusher will take over the historic music hall Hackney Empire with his largest ever light-show to date! This is a unique opportunity to witness one of electronic music’s pioneers in an extraordinary setting.
Madakaripura
Digital image projection, software, real-time internet-based data, and sound
Installation shot at St. Saviour Church, London
Tromarama is an art collective founded in 2006 by Febie Babyrose, Herbert Hans and Ruddy Hatumena. Engaging with the notion of hyperreality in the digital age, their projects explore the interrelationship between the virtual and the physical world. Their works often combine video, installations, computer programming and public participation depicting the influence of digital media on the society perception towards their surroundings. They live and work between Jakarta and Bandung.
Pixel
Les œuvres qu’il crée introduisent souvent des chevauchements surprenants et ludiques entre le physique et le numérique dans l’espace public, où ils sont confrontés à un large public. Ses œuvres ne sont pas destinées à être présentées dans l’espace traditionnel du cube blanc, mais plutôt dans des rues bondées, des festivals en plein air ou des paysages ouverts où elles deviennent un sujet à diverses influences, où elles peuvent non seulement être regardées mais aussi touchées et jouées. L’élément de participation est en fait souvent inhérent à la conception des installations de Vorwerk, qui sont complétées par l’engagement du public. Leur caractère organique leur permet de changer continuellement et d’être toujours influencés par le contexte dans lequel ils sont placés.
Falin Mynd
Falin Mynd est une installation audiovisuelle dédiée à la ville de Milan qui s’inspire du concept de l’image latente dans le champ photographique: une empreinte invisible laissée par la lumière sur le film qui ne se révèle qu’après son développement. De même, les données générées par les habitants et les visiteurs de la ville de Milan produisent des paysages numériques abstraits, laissant une trace de leur analyse et interprétation en temps réel. De cette manière, le travail rend visible le lien indissoluble entre l’individu et la communauté, soulignant comment les deux entités s’influencent mutuellement en changeant la perception de la réalité qui nous entoure faite de lieux, de personnes, de couleurs et de sensations. Les données constituent ainsi une image invisible de la ville, une carte de ce qui n’est pas manifeste et qui se révèle dans Falin Mynd.
L’univers Cristallin Infini
Le pointillisme utilise une accumulation de points de couleur distincts pour créer une image. Ici, les points lumineux sont utilisés pour créer des objets tridimensionnels. La sculpture lumineuse s’étend à l’infini dans toutes les directions. Les gens utilisent leurs smartphones pour sélectionner des éléments pour lancer l’univers de cristal infini. Ces éléments renaissent en trois dimensions, créant l’œuvre d’art. La présence de personnes et leur emplacement dans l’œuvre affectent ces éléments tridimensionnels, qui à leur tour influencent et sont influencés par d’autres éléments de l’espace. Cette œuvre d’art est en constante évolution, changeant d’instant en instant en raison des personnes présentes dans l’espace.
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.
Treu
Treu is a real-time audiovisual installation that elaborates on the multiple meanings and implications of the concept of trust. On a macro level it observes how historical events have influenced its course and considers how this can evolve in the future. On a micro level, it, explores how the presence or absence of trust can shift the perception of our individual realities.
Trust is a fundamental element of our society. Politics, economics, and our whole modern system are not material realities – they are psychological constructs based on the trust in individuals, in institutions, in the market. We decide to believe in the value of money, to undertake social changes only if we trust the inventions of our collective imagination.
video
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.
Newark & M.G
La place de Trisha Brown dans l’histoire de la création Outre-Atlantique est unique : après Martha Graham et sa modern dance, Merce Cunningham qui dynamite les codes, Trisha Brown va s’imposer dans un courant, la danse postmodern qui a influencé nombre de chorégraphes actuels. La danse ici est jaillissante, faite de duos de plus en plus complexes avec bien sûr ce jeu des équilibres instables comme autant de coups d’arrêt au geste. Le plus souvent, sous nos yeux, un couple d’interprètes voit surgir un autre tandem dans un incessant jeu de déconstruction des lignes. Des marches, des courses, des dialogues féconds s’instaurent en scène. Newark est pour beaucoup une des grandes pièces de Trisha Brown.
Fog Sound Environment
Fog Sound Environment is a site specific installation originally conceived for the foreland of DordtYart located nearby the junction of the three rivers that traverse Dordrecht. In this experiential artwork real fog is being created by pushing water under very high pressure through hundreds of nozzles. The fog system consists of independent sections that surround the foreland. The timing and distribution of the fog is part of a composition system that incorporates the on-site wind direction in real-time. The fog is dispersed across the, by high trees and water enclosed, grassy terrain . The behavior of the fog is under direct influence of the local weather; sun, rain and wind all have their influence on the behavior of the fog and experience of the work.
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.
Interactions of the Abstract Body
With ‘Interactions of the Abstract Body’ McElheny pushed these ideas further, creating a large and varied body of work that looks at how fashion and modernism have intersected and influenced each other, especially through the common language of the body. Crucially, McElheny animated this dynamic with the constant presence of a performer. By combining a continuous flesh-and-blood performance with static sculpture in the same gallery space, a first for White Cube, McElheny radically fractures the distinction between performance and exhibition.
THE TRANSPARENCY OF RANDOMNESS
“The Transparency of Randomness” gives insight into the world of randomness. In this interactive installation, visitors can directly experience the significance of the complex interplay of randomness and stochastics in current mathematical and physical research. 27 transparent boxes, floating in space, continuously generate random numbers by using the well-known medium of the dice.The process of random number generation is influenced by the complexity of nature and its structures, using a variety of natural materials. The ensemble of all generated random numbers forms the basis of a real-time calculation and comprehensibly demonstrates the impressive role in scientific research.
Watage
An interactive installation using naturally-generated power rather than man-made sources like electricity. Dandelion fluff (watage in Japanese) soaked in water to form drop-like shapes, untreated fluff, and so on serve as modules, bonded with liquid paste to be reconstructed. The fluff sways in response to viewers’ breath or movement, even in the absence of breeze, immaculately revalidating the viewer’s own existence by making their influence on surroundings visible without use of technology. Using its surrounding environment to send off its seeds, the dandelion has achieved a lightness and form in its fluff specialized to the purpose and sprouts up each year no matter how the world may change. Having been drawn into the quietly-paced world of plants, the artist looked to dandelion fluff for a new form of expression able to hold its own against showy, rapidly evolving technological expression.
Foley
Huxley-Parlour gallery presents a solo exhibition of new audiovisual and installation works by the London-based artist Jonas Pequeno. Comprising of three works, a kinetic sound installation Foley, a CGI video Ocean Scene Composite and a photographing print, and the act of appearing, the exhibition considers incongruity in digital fictional constructs. The title of the exhibition, /ˈfəʊli/, is a phonetic transcription of the word foley, a film-making technique used to manually mimic everyday sound effects in post-production when props do not acoustically match their real life counterparts. Influenced by the concept of foley, Pequeno’s work features an audiovisual installation that incorporates microphones and balloons swayed by a fan, replicating the sound of crashing ocean waves.
FALIN MYND
Falin Mynd is an audiovisual installation dedicated to the city of Milan that draws inspiration from the concept of the latent image in the photographic field: an invisible imprint left by the light on the film that is revealed only after its development. Similarly, the data generated by the inhabitants and visitors of the city of Milan produce abstract digital landscapes, leaving a trace from their analysis and interpretation in real-time. In this way, the work makes visible the indissoluble bond between individual and community, highlighting how the two entities influence one another changing the perception of the reality surrounding us made of places, people, colors, and sensations. The data thus constitute an invisible image of the city, a map of what is not manifest and which is revealed in Falin Mynd.
Metabolism _ Invisible Cities
Pierre-Jean Giloux’s first monograph, the publication extends the eponymous video tetralogy inspired by the Japanese utopian architectural movement: Metabolism (1960-70).
The films of the Invisible Cities cycle are portraits of Japanese cities, superimposing filmed and photographed images of everyday, social and urban reality, with virtual images.
The book explores the links in Pierre Jean Giloux’s work that connect four Japanese cities with a rich architectural past (Tokyo, Yokohama, Osaka, Kyoto). This jorney through Japan’s Megapolis traces the history of Japan and ends with the reconstruction of pavilions for the Osaka 70 Universal Exhibition and a virtual proposal for a smart city on the waters of Lake Biwa.
The metabolist utopia to which reference is constantly made in the work of Pierre Jean Giloux played a decisive role in the constitution of post-war Japanese cultural identity and had a notable influence on many contemporary architects.
Moving atmospheres
Moving Atmospheres, the tenth Garage Atrium Commission curated by Iaroslav Volovod, is a partially mirrored sphere suspended in the air, propelling us towards an Aerocene epoch. We call towards this new era with Aerocene. For more than a decade we have been imagining a world free from the carbon, extractivism, capitalism and patriarchy that fuels some forms of life, a new way of being with the atmosphere and emissions-free travel, free from solar panels, lithium, helium, hydrogen and fossil fuels. This new era stands in stark contrast to the lingering eco-traumas of the Anthropocene, the current geological age in which some human capitalistic activity has been the dominant influence on climate and the environment.
Weight of insomnia
With his new series of paintings, Liu uses a machine programmed to capture movement in public spaces and translates this to marks on canvas. The machine has no heart, no desires, no ulterior motive. It does not sleep but obeys its instructions for as long as the artist decides. And yet the results have a strange power to move us. It seems that, despite all efforts, subjectivity can never truly be extinguished. Join Liu as he discusses this latest painting project, the conflict and changes in Chinese society that have influenced his artistic approach and how we might all be affected by the ‘weight of insomnia’.
FORCE
FORCE is an installation work that provides a visualization of the force of gravity via the interaction between gravity and a liquid with carefully computed qualities. Black silicone oil, engineered to achieve the required viscosity, streams constantly from the ceiling under the influence of gravity, forming a black pool on the floor and blurring the distinction between the characteristics of solids and liquids as if it were a sculpture transformed into a liquid. The tightly configured space places the viewpoint in the interface between time, space, and matter, giving us a direct awareness of the reality of our existence within a continuous series of actual moments.
Atmospheric Forest
Atmospheric Forest is a large scale VR point-cloud installation that visualizes and sonifies the relations between the forest and climate. It reveals the interaction patterns between the pine-tree emissions in Pfynwald, an ancient Swiss Alpine forest, and weather conditions in this valley, effected by drought. The trees do not only produce oxygen, but they are living bodies who breath too. I.e., they emit part of carbon dioxide, sometimes even up to 20 perc. from what they have consumed. When trees die, they release all the carbon they have collected during their lives back into the atmosphere. Atmospheric Forest explores the effects of drought on local forest ecosystems, and how such stress situations influence production of resin and volatile emissions (such as usual pine-tree scent).
ELECTRIC SKIN
The Electric Skin explores the possibility of creating a wearable that extends the functionality of the skin to sense electromagnetic fields (mostly within the radio spectrum) and translate that information into touch sensation. The wearable consists of two main functional parts: 1) A matrix of omnidirectional antennas that act as sensors and probes and 2) corresponding electrodes that stimulate the skin of the wearer. Through this artificial “skin” or “exoskeleton”, the wearable changes our experience, perception, and understanding of space and movement, and in doing so, our interactions. The project speculates on the possible co-evolution of man and technology and draws attention to the role of environmental influence on our own bodily development and behavior.
РАФАЭЛЬ ЛОЗАНО-ХЕММЕР
拉斐尔·洛萨诺 – 亨默
ラファエル·ロサノ=ヘメル
라파엘 로자노
רפאל לוזאנו, המר
Open Air
Depending on atmospheric conditions, Open Air could be seen up to 10 miles away from the Parkway each evening from 8 to 11 p.m. The Project Information Center at Eakins Oval was equipped with app download, free mobile loan stations and seating areas for watching the lights and listening to the messages. There was also be an Information Outpost located at Sister Cities Park (18th Street and Logan Square).The Open Air voice archive also features selected “Voices of Philly,” recorded messages from distinct individuals both past and present who have inspired and influenced the flavor of Philadelphia. “Voices of Philly” messages are accessible on this website and were played at various times throughout the project. Content for “Voices of Philly” was collected by project partner WHYY executive producer Elisabeth Perez-Luna and includes David Lynch, Sonia Sanchez, Sun Ra, Louis Kahn, M. Night Shyamalan, Tina Fey, ?uestlove, Marcel Duchamp, Buckminster Fuller, Jimmy Heath, Santigold, Maurice Sendak, Patti LaBelle and many more.
Vision Machine #8
Influenced by German sound artist Peter Vogel and Jean Tinguely’s kinetic sculptures , Björn Schülke creates complex viewer-activated machines that combine movement, surveillance, and sound.
SVNSCRNS
SVNSCRNS is a commissioning project that is initiated by Klankvorm after a concept by Joris Strijbos. The project consists of the realization of a kinetic audiovisual installation for which artists are invited to realize content. The installation can be used for live performances as well as for playing prearranged compositions. The installation consists of seven rotating projection screens and speakers that can be controlled from a central point. Custom build software and hardware are accessible for artists from different backgrounds to experiment with this new dynamic field for audiovisual composition. Light, sound and movement come together with different forms of digital media to create a multi sensorial experience for the audience. In this way the project functions as a platform in which makers and creators of all kinds can collaboratively explore this kinetic audiovisual medium. The result is a slow moving robotic structure which can display different sorts of media but in it’s presence will have a strong influence on the experience of the spectator.
Eggs Are Good For Your Hair
Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?
