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

The Call for Entries to participate in FILE – Electronic Language International Festival’s projects in 2024 is now open. The festival seeks original artworks in Art and Technology, by Brazilian and international artists. Registration remains open until February 10th. Access the registration form.

FILE is a non-profit cultural organization that has propagated creation and experimentation in Art and Technology through exhibitions, events and publications over 23 years. This call opens up the opportunity to participate in the 23rd. Edition of the Electronic Language International Festival, which is scheduled to take place at the FIESP Cultural Center, in São Paulo. The selected projects will also be able to collaborate in parallel events in different states in Brazil.

Using the registration form, it is possible to send interactive installations, sound art, video art, robotics, animations, CGI videos, virtual realities, augmented realities, mobile art, games, gifs, internet art, lectures and workshops, among others. To participate in the LED SHOW programm, exhibited annually at the FIESP Digital Art Gallery, register using the form. Sign up!

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

Smart Hans

FILE 2024 | Installations
International Electronic Language Festival
Max Haarich (Project Smart Hans) – Smart Hans – Germany

The Smart Hans project is a synthetic reincarnation of Clever Hans, a horse that became famous in the early 20th century for apparently answering mathematical questions by tapping its hoof. The interactive installation features an animated horse that can guess any number in its mind through posture recognition. At the same time a fun joke and an illustration of why we worry about artificial intelligence.

Bio

Max Haarich is an artistic researcher, ethicist and consultant focusing on artificial intelligence and web3. He studied communication science at RWTH Aachen and critical thinking at the University of the Underground. After his studies, he researched artificial superintelligence at RWTH Aachen and later worked as a communications manager at Europe’s leading startup hub.

Credits

Team: Anja Borowicz Richardson (UK), Bruce Gilchrist (UK), Akshita Gupta (IND), Max Haarich (Artistic Lead/DE), Martina Huynh (NL), Asad Imtiaz (PAK), Muhammad Qasim Khan (PAK), Adrian Ludwig (DE), Pekka Ollikainen (FI), Raphael Pickl (DE).

The Cage of Time

FILE 2024 | Installations
International Electronic Language Festival
Interactive installation that presents a kinetic instrument object and virtual reality glasses, functioning as a device that animates the illusion of the passage of time in virtual space. In the fabric of existence, time weaves a cage around our ephemeral moments, limiting our perceptions of the past, present and future. By embracing this paradox, we may discover that the cage of time becomes the crucible where the alchemy of experience transforms our understanding of existence.

Bio

Anna Vasof is a multi-award-winning artist who focuses on filmmaking, short videos, and time-based sculptures. VRinMotion is an artistic research project based at St. Pölten University of Applied Sciences in Austria that investigates how features of stop-motion animation and motion capture can be combined with virtual reality to enrich current artistic discourse.

Credits

VRinMotion Team: Franziska Bruckner, Christoph Schmid, Clemens Gürtler, Matthias Husinsky, Christian Munk, Julian Salhofer, Stefan Nebel, Vrääth Öhner.
Concept by: Anna Vasof.

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.

Everything Before, Everything After

FILE 2024 | Installations
International Electronic Language Festival
Seph Li – Everything Before, Everything After – China and UK

A digital installation features a winding river in the style of Chinese painting, symbolizing time and transition. Touch screens allow visitors to paint over it, altering its course unpredictably. The river embodies history and the future, with each trace contributing to its eternal flow through space and time. Recorded interactions ensure its perpetual existence.

Bio

Born in Beijing in 1988, Seph Li has a mixed background in technology and design, and his keen interest in interactive artworks led him to the field of media arts. Seph studied computer science and entertainment design at Tsinghua University and continued his master’s study in design/media arts at UCLA. Seph currently resides in London, United Kingdom; he creates interactive artworks as well as technical experiments with other production studios.

Nature Morte
Nature Morte focuses on Nauman’s long relationship to his own studio, a variation on his four unique multi-projection videos, Mapping the Studio (2001). Three viewing stations, each consisting of an iPad linked to a wall-sized projection, provide an interactive exploration of the 3D studio space. Only now the artist is absent, and the participant becomes performer as he/she manipulates the large scale video projections on an iPad using touch control. The participant is free to navigate anywhere throughout the space, selecting broad vistas or individual objects. Using a hand-held 3D scanner, Nauman recorded hundreds of images that allow participants to select an object and locate close-up anything found there, and further reorient the image to see an object from above and below, and at times inside-out. The resulting mobility intensifies the experience of the viewer/performer. Presenting a static, but immersive re-creation of his studio space, Nauman’s pieces once again play at the tenuous lines between the body and space, perception and physical material.

Vicky
Vicky is an interactive film that tells the non-linear story of a future hurricane on the southern border of the United States in 2028. The narrative, which is augmented by sound design from Theo Karon, is spread across multiple screens, each of which houses a different character reflecting on the situation in different ways.

ニコラ·シェフェール
Chronos 5
In 1948 he created the concept of “space dynamism”. In his words, space dynamism is “the constructive and dynamic integration of space in plastic work.” Based on this idea, he will seek to create the total work of art, concretized in the cybernetic village, a city full of utopian spaces. His work combines cybernetic, kinetic art and interactive art, of which he is one of its first representatives, making the first works of art in real time or live in the history of art.

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.”

Fountain with Red
Stainless steel, water pump, red liquid, urethane paint. Ujoo+limheeyoung is the husband and wife team of media artists Ujoo and Limheeyoung. Since first working together in 2004 in preparation for design competition, they have been involved in projects that use a variety of means of visual expression – kinect expression sculpture, drawings, real-time interactive videos – to address the theme of absurdity of reality.

Skogen/The forest
Skogen/The forest is an interactive sound art exhibition created by Swedish composer Anders Lind in collaboration with Swedish scenographer Ulla Karlsson. THE FOREST is created as a multiplayer orchestra platform for novices (or experts). Within THE FOREST the visitors becomes orchestra performers ready to explore preprocessed sounds from the Swedish forest in combination with sounds from a traditional symphony orchestra. THE FOREST was first exhibited at Norrlandsoperan, Umeå, Sweden in 2019.

We only come out at night
FILE FESTIVAL 2007
We Only Come Out at Night is an urban graffiti project involving interactive public projections. A site is selected at dawn and a sticker is stuck or a stencil image is sprayed at the location. When the sun sets, jellies are projected over the heads of pedestrians on the street. As the pedestrian walks underneath the projection, the monsters grab the shadows of the people and eat them. The sticker is then removed and the project visits another place at dawn. A website is created to track the history of the monster appearance in order to promote and create a mythology. There are seven monsters in total, each monster’s design and behavior is unique. Gula, the monster that always eat, Avaritia, the monster that stuffs you into his pants, Invidia, the monster that takes your image and pretends to be you, and so on. Each monster is unique but always sad.

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

Anato-me
Cette installation initie un cycle de recherche visant à augmenter ou détourner la notion d’écran par le biais de dispositifs additionnels transparents. L’image est ici constituée d’un masque gravé en 3D au laser dans 3 blocs de verre. Il est prolongé dans sa partie réelle par des impressions 3D. Une image interactive à l’arrière des blocs vient donner vie à l’ensemble. Le masque de Geisha fait référence au manga “Ghost in the Shell” de Shirow Masamune et à son adaptation en film réalisé en 2017 par Rupert Sanders.

Reading Plan
“Reading Plan is an interactive artwork with 23 automation book flipping machines. When audiences enter the exhibition room, these machines will start to turn pages automatically and read the context at the same time. The updated figure to show that average student numbers per primary school in years 2016 in Taiwan is 23 students. I included a metaphor classroom in this artwork. In Taiwan, when people go to school, they don’t have much decision power to decide what they want to read and study. It is like being controlled by a huge invisible gear. The education direction led by authorities always prioritizes industry value and competitiveness. They want create a money-making machine instead of self exploration and humanism thinking.” Lien-cheng Wan

airmorphologies

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.

尤里铃木
يوري سوزوكي
Garden of Russolo
‘Garden of Russolo’ is an interactive sound installation by Yuri Suzuki allowing visitors to have a sonic experience using their own voice. The auditory installation, shown at the V&A during the 2013 London design festival, is based on Suzuki’s previous series of sound-activated work ‘white noise machines’. Influenced by futurist painter and composer Luigi Russolo – one of the first experimental composers – the series of phonograph-like wooden boxes compose the exhibition, re-interpreting audio inputs into a muffled atmospheric output, twisting and amplifying the original soundtracks.

Neuro Surge
Measuring about 9 meters in height, the work pierces through the atrium of the ‘shiseido’ ginza building from the first to the second floor and creates an unprecedented display of light with the use of new advanced fibers. WOW inc. attached 150 fibers with a .9 millimeter diameter to a laser module. The laser module transmits light through the fibers, which can be controlled by touch. The interactive work visualizes the complex transmission of sensory nerves and information into a dynamic light show.

Electric Chair

The distinctive work of Sam Buxton is dominated by his innovative use of advanced materials and technologies. From his immensely popular MIKRO series (miniature fold-up sculptures, laser cut into thin strips of stainless steel through an acid etching process) to his explorations concerning interactive intelligent surfaces on the familiar objects around us, his work has continually managed to blur the lines between art, science and design.Through his work, which has regularly involved relatively common objects ranging from business cards to a dining table, Buxton has demonstrated an ability to see potential in what others take for granted. His on-going efforts in developing objects that can communicate, display information and react to the actions of the user, demonstrate his commitment to investigating the delicate relationship between the human body and its environment. Buxton’s fusion of art and science has resulted in a highly innovative and unique range of personal designs, many of which, have utilized the latest, most advanced materials and technologies available.

Everything
FILE GAMES 2017
Everything is an interactive experience where everything you see is a thing you can be, from animals to planets to galaxies and beyond. Travel between outer and inner space, and explore a vast, interconnected universe of things without enforced goals, scores, or tasks to complete. Everything is a procedural, AI-driven simulation of the systems of nature, seen from the points of view of everything in the Universe.

B R A I N L I G H T
“The catalyst for this research project was my flourishing intrigue and desire to harnesses my own Brain as the creator of an interactive art experience where no physical touch was required except the power of my own thoughts. To experience a unique visualisation of brain activity and to share it with others I have created a large freestanding brain sculpture that is made of laser cut Perspex hand etched with neural networks that glow when light is passed through them.” Laura Jade

Ada
File Festival
Similar to Tinguely’s “Méta-Matics”, “ADA” is an artwork with a soul. It acts itself. At Tinguely’s it is sufficient to be an unawarely struggling mechanical being. He took it wryly: the machine produces nothing but its industrial self-destruction. Whereas “ADA”, by Karina Smigla-Bobinski, is a post-industrial “creature“, visitor-animated, creatively acting artist-sculpture, self-forming artwork, resembling a molecular hybrid, such as a one from nanobiotechnology. It develops the same rotating silicon-carbon-hybrids, midget tools, miniature machines able to generate simple structures. “ADA” is much larger, esthetically much more complex, an interactive art-making machine.

minamo
The MINAMO is a space which embodies TOTO’s concept of “cherishing water”. Created by TORAFU ARCHITECTS for Tokyo Designers Week 2011, it lets you feel the shimmer and beauty of water. It is an exhibition booth that uses no water yet interactively gives visitors the sense of the surface of water (minamo).

Espaco Ressonante
…immersive and interactive, in which the public can enter bodily. Each work has dimensions of 150 x 120 x 60 cm, and is composed of wood, speaker, magnifier, acrylic and a 10-minute audio.

timeLandscape woolrhythms

“timeLandscape – wool rhythms” 2010. Part of timeLandscape series, 2009 – 2010. Video, audio, projector, speakers, custom patch (PD-Gem), sensor, wool engine. Variable dimensions and duration, loop. “timeLandscape – woolrhythms” is an interactive audiovisual installation in which a landscape is depicted from its multiple time possibilities and [re]composed through users’ real time interaction. The installation was developed in Biella, Italy, an area economically attached to textile industry, and deals with the cyclical perception of time and human, linear, interference on it. It gathers nature and artefact, by connecting a physical wool engine to digital imagery of daily cycles. By turning the wheel crank, users generate movement starting the engine. Through a sensor attached to the machine, software calculates the rotation speed, altering parameters for mixing audio and video fragments in real time. Every turn of the machine leads to different time thread combinations in response to the rhythm and speed of each interactor.

FILE FESTIVAL

The Inner Life of the Cell
короткий фильм 3D-анимации, рассказывающий о различных биологических процессах в лейкоците, клетке человеческого тела. Фильм создали Дэвид Болинский (иллюстратор Йельского университета), ведущий аниматор Джон Либлер и Майк Астрахан из XVIVO для факультета Молекулярной и клеточной биологии Гарвардского университета. 8,5 минут анимации заняли 14 месяцев работы. Впервые фильм был продемонстрирован в 2006 на ежегодной конференции SIGGRAPH (short for Special Interest Group on GRAPHics and Interactive Techniques) в Бостоне.

골란 레빈
ГОЛАН ЛЕВИН
Eyecode
Eyecode (Golan Levin, 2007) is an interactive installation whose display is wholly constructed from its own history of being viewed. By means of a hidden camera, the system records and replays brief video clips of its viewers’ eyes. Each clip is articulated by the duration between two of the viewer’s blinks. The unnerving result is a typographic tapestry of recursive observation.

The Year We Make Contact
FILE LED SHOW
FILE Festival São Paulo
Documentation of video work displayed on the 3-sided LED façade of Centro Cultural de Fiesp, in São Paulo, Brazil. The work was part of FILE Festival’s FILE LED Show 2018, on view from July 2 – August 8, 2018. The screening program featured a collaboration between FILE Festival and Pratt Institute Dept of Digital Arts in Brooklyn, led by professor Blake Marques Carrington and 13 undergraduate Interactive Arts students.

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
Please touch the art
Brooklyn park NYC
celebrated for engaging audiences in seas of sculptural, inventive and whimsical works, danish artist jeppe hein brings a series of participatory installations to new york city, situated around the waterfront brooklyn bridge park. from now until april 17, 2016, public art fund presents ‘please touch the art’, an exhibition of 18 interactive sculptures including ‘social’ benches, rooms made of jetting water, and a dizzying mirror maze.

Conservation of Intimacy

Made of pine, latex, music wire, copper, nylon line, paper, pens and video surveillance. It measured 20′ x 35′ x 26′ at Southern Exposdure.
A couple rocking on the bench sends air pulses to another room causing balls to move and pens to transcribe their motions onto paper. The paper is moved by a third person on a stationary bike. The couple on the bench can watch the balls on a video monitor before them where the balls appear to bounce into the air. The motion is delayed and languid as though under water. Action is best when the couple is moving slowly together. As visitors work together to animate the mechanisms, they create a theatre for themselves and each other. By encouraging participation, and touch the pieces coax visitors to engage their bodies as well as their minds. The way that pieces move and feel and sound as you rock them, pedal, crank and press against them applies the kinesthetic comprehension’s of childhood to the tasks of philosophy. Bernie Lubell’s interactive installations have evolved from his studies in both psychology and engineering. As participants play with his whimsical wood machines, they become actors in a theater of their own imagining.

Desiring Machine: and/or the female reincarnation of Sisyphus
Née en Argentine, Paula Gaetano Adi est artiste et chercheure dans les domaines de la sculpture, de la performance, et des installations interactives et robotiques. Elle utilise le corps humain et non humain comme point de départ de ses recherches, et s’intéresse aux effets discursifs et aux impacts affectifs des technosciences sur la subjectivité humaine et dans l’art. Ses œuvres ont été présentées sur la scène internationale à Beijing, Berlin, Madrid, Moscou, Stockholm, São Paulo, New York, Poznan et Buenos Aires, entre autres. Elle a reçu de nombreux prix et bourses, tels que le premier prix à la compétition VIDA 9.0 sur l’art et la vie artificielle, organisée par la Fundación Telefónica, et le premier prix LIMbØ du Musée d’art moderne de Buenos Aires, la bourse Fergus Memorial en 2009 et 2010 de même que la bourse accordée à un artiste ibéro-américain dans le cadre de la compétition VIDA 14.0. À l’heure actuelle, Paula Gaetano Adi est professeure adjointe dans le programme de Studio Art du College of Visual Arts and Design de l’Université de North Texas, où elle coordonne le secteur réservé aux nouveaux médias. À cette université, elle s’est également jointe au groupe Initiative for Advanced Research in Technology and the Arts (iARTA).

21 Swings

L’installation 21 balançoires est de retour dans le Quartier des spectacles. L’oeuvre interactive et musicale permet aux passants de s’unir pour créer une mélodie unique. Derrière ce projet, maintes fois primé, se cachent deux artistes québécoises, Mouna Andraos et Melissa Mongiat. Les deux jeunes femmes viennent d’ailleurs de remporter le concours d’art public pour le nouveau Planétarium Rio Tinto Alcan. Avec l’ouverture d’un bureau à New York et un nouveau contrat au Minnesota, les deux Montréalaises se préparent tranquillement à prendre la planète d’assaut.Pour la troisième année consécutive, les gens pourront se balancer sur la Promenade des artistes tout en composant une symphonie originale. L’installation 21 balançoires, d’une superficie de 30 000 pi2, est une création du studio Daily tous les jours, fondé par Mouna Andraos et Melissa Mongiat, en 2010.Si la musique produite par ces balançoires est éphémère, l’installation ne l’est pas, ce qui oblige ses créatrices à poser un regard critique sur leur oeuvre chaque printemps. «Il y a des bons et des mauvais côtés à notre forme d’art, avoue Melissa Mongiat. On peut prendre un certain recul, une fois le projet démonté.»

the liquid room

Elizabeth Ogilvie is a Scottish artist who uses water as a medium and as a research focus. Water is the obsession which returns in most of her works and it becomes experience through the use of installations and videos. Her work embraces universal and timeless concerns, offering her public an innocent pleasure and at the same time underlining philosophical and ecological issues.
Through her installations, the artist isolates water inside an artificial state, creating a process which highlights its fundamental qualities in order to return to its place of origin which is the natural habitat. Among her most important works there is Liquid Room realized in 2002. Inside a derelict warehouse the artist created basins with water which were crossed by a footbridge. By linking art, architecture and science, she realized an interactive installation where the visitor, walking on the footbridge, can touch the water, whose movement is reflected on the walls of the installation. In 2006 she created Bodies of Water, whose operation took over from her previous work.
Once again, through a series of installations, the public was able to share the experience of sensorial involvement within an environment dominated by water.

An interactive installation between dance

L’ipercoreografia è un’installazione video interattiva a sei schermi. Puoi attivare e controllare il video dei sei ballerini nel lavoro con i tuoi movimenti del corpo. Puoi diventare un ballerino o anche un coreografo del lavoro, sperimentando la gioia illimitata della danza e della danza. L’ipercoreografia è un’esperienza emozionante e stimolante che ti offre una panoramica dell’arte della coreografia e dello screendance. L’ipercoreografia è una nuova installazione concepita dagli artisti dello screendance Simon Fildes e Katrina McPherson della pluripremiata compagnia di produzione indipendente scozzese Goat. L’opera d’arte è stata creata in collaborazione con il coreografo tibetano di fama internazionale Sang Jijia, il produttore musicale veterano Dickson Dee, sei ballerini eccezionali e il creativo locale, LazyAnt.

Cloud.data
Created by Aaajiao (Xu Wenkai), a media artist based in Shanghai, cloud.data is an iPhone/iPad app installation inspired by an ancient legend. Using different touch gestures you get to control the passing cloud formations. Single tap allows you to redirect them, double to change their size and three finger drag to adjust opacity. The app is an interactive incarnation of the processing installation Aaajiao created in 2009 (see images).

Interactive audiovisual dance performance
via highlike submit
Breakdown is an interactive audiovisual dance performance presented at the Ears Eyes and Feet event in the B. Iden Payne Theater, May 2014, UT Austin Texas.
Breakdown explores a 2 dimensional simulated world in which its physical rules are constantly being changed and manipulated by an external entity. An inhabitant of this world is in constant motion to adapt to its characteristics. He interacts with the physical rules and develops a dialogue with the entity who controls the forces. Eventually the inhabitant ends up breaking the world’s rules and release himself into a new world, a new dimension.

videomaton
File Festival

The initial idea was to engage audiences with the classical paintings. The installation tries to transform the classical portraits into memorable and playful experiences. In short, by looking into a mirror a face of participant is captured by the system. Next, the captured face travels into one of the classical portraits. Hence, the viewer is invited into the gallery in order to recognize him or herself in one of the paintings. In other words, the art piece replaces the original painted faces by the faces of the audience. To be more specific, the authors have created an original face-morphing that integrates itself into the well-know portraits, like Meninas by Goya. To put in a nutshell, the common experience of modern art is replaced by a novel, playful and enjoyable encounter. The installation creates a framework of expression where audience spontaneously and freely interact in front of a mirror knowing that they are recorded. The results are experience by all audience in the gallery. The project was produced in 2011 as a commission of interactive art project for the new City Council of Madrid curated by Chema Conesa. “Videomaton” was presented in the opening of new City Council of Madrid located in the Cibeles square. The installation was exhibited for a year in the institution. The aim of the exhibit was displaying the famous art pieces of Madrid museums in a novel way.

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BARACK OBAMA: NEXT INDUSTRIAL REVOLUTION
This monumental 3D Printed sculpture is the three-dimensional materialisation of President Obama’s voiceprint. The 3D voiceprint portrays an extract of President Obama’s February 2013 State of the Union Address. It represents the materialisation of the very thoughts and words of the President of the USA. The sculpture is interactive. A movement sensor activates the system and a laser beam scans the 3D recording to reveal the President’s words and message. The work was printed using a 3D desktop printer and the housing designed by Patrick SARRAN.

It´s fire, you can touch it

On the other hand, an example of a work representing a difference in which the viewer is faced with participation in the event, is an installation by Yoko Ishii and Hiroshi Homura It’s fire, you can’t touch it (2007). In this work which appoints the active environment, onto the hands reached out by the participants, miniature light signs are projected—a Japanese tanka poem is running through, glyphs change form, fuse together, move. Here we deal with a poetic spectacle in which the perspective of cognitive interactivity, set off in contact with poetry, is complemented by tactile sensations and poems themselves are as if extracted from the environment by interactive gestures of receivers-readers.

FILE LED Show

The art-technology exhibition of FILE São Paulo 2013 brings the new interactive work by the famous 1024 architecture group to be presented on the gigantic LED panel of FIESP building on Paulista Avenue. People could change the images on the panel through their voices or by humming a song.
The 1024 architecture group created the “interactive LED” digital graphic project for the Paulista Avenue, which will be presented from July 22 through August 18, 2013. The project consists of a podium with a microphone installed on the sidewalk of the Paulista Avenue, where people could interact through the vocal conversion into musical notes. The 1024 architecture group elaborated a brand new algorithm for this project, which changes the graphic behaviors by means of sounds. Depending on the note sung, several parameters of the program, such as colors, shapes, density, and rhythms (squares, circles, stripes, etc.), will change.

FRAC centre

EN 2006, le Frac Centre d’Orléans lance un grand concours international d’architecture pour imaginer et construire le bâtiment qui devrait héberger ses expositions temporaires dont Archilab et sa collection permanente d’art et d’architecture, l’une des plus importantes au monde en ce qui concerne l’architecture contemporaine. Le concours comportait cette particularité d’associer une équipe d’architectes à un artiste, une première. Au terme de ce concours, la paire Jakob MacFarlane + Electronic Shadow est lauréate avec son projet de Turbulences et sa peau lumineuse interactive intégrée à l’architecture.
Sept ans plus tard, le bâtiment est sorti de terre et s’ouvre enfin au public.
L’oeuvre intégrée au bâtiment en dessine les contours par la lumière et évolue au gré des informations qu’elle collecte sur les réseaux, conditions climatiques, saisons, vitesse du vent, autant de paramètres qui influencent le comportement de la peau de lumière.