françois xavier saint-georges
Assembled from chinese brushes and medical equipment, the low-tech automata creates ‘endless line’ ink paintings. Created by canadian designer François Xavier Saint Georges, ‘contraption’ is an autonomous painting machine, capable of creating a ‘never-ending line’ of paint. The low-tech device is composed of medical equipment like syringes and tubing, chinese brushes, and paper with an electric motor, that together continuously run a roll of paper along the wall, to be ‘painted’ upon by ink pumped into the set of brushes. Random variations in the ink’s consistency and viscosity at a given moment produce different effects on the paper, and different colours can be fed into the unit or layered on top of previous ‘paintings’. We will show you more projects from this guy, so if you like it you will see more about him. Enjoy it!

Akemi Takeya
Granular Synthesis
“From a few expressions on the face of the performer Akemi Takeya to a frenzied exploration of the alter ego, any known context of meaning ends in the dissolved movements, is stalled in denaturalized redundancy, in machine pain. The semantic void is too loud to be amenable to meditative reception. The frontal images, the rhythmic structures generate contradictory emotions and great strain.”

Wasteland

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Wasteland – Spain

Wasteland takes you on a journey across a vast desolate landscapelandscape that transforms and evolves with the musical wavesmusical waves, featuring a post-apocalyptic theme.

Bio

Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI ​​Film Festival Montpellier 2023.

Credits

AI-generated music made with Suno.ai

Subway Chase

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Subway Chase – Spain

Subway Chase is a high-speed underground race, a visual glitch that dissolves and transforms with the musical waves.

Bio

Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI ​​Film Festival Montpellier 2023.

Credits

Music: Subway Chase by Karl Casey

Relaxation

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Relaxation – Spain

Relaxation is an animated painting that transports you to a surreal natural landscape, hypnotically inviting mental relaxation.

Bio

Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI ​​Film Festival Montpellier 2023.

Credits

Music: Relaxation by NPM

Enter the World

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Enter the World – Spain

Enter the World is a visual experience with bright, vibrant colors in a retro sci-fi anime style, which transforms and evolves with the rhythm of the music.

Bio

Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI ​​Film Festival Montpellier 2023.

Credits

Music: Enter the World by NPM

Eldritch

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Eldritch – Spain

Eldritch immerses you in a disturbing hallucination through the darkest recesses of the human mind; a psychedelic and demonic audiovisual experiment.

Bio

Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI ​​Film Festival Montpellier 2023.

Credits

AI-generated music made with Suno.ai

Athena

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Athena – Spain

Athena is a captivating animation that immerses you in a psychedelic and nostalgic journey, evoking the retro aesthetic of 80s anime with its vibrant visual style. A world full of bright colors, geometric shapes and surreal landscapes that explores the corners of the human mind, providing a unique visual experience.

Bio

Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI ​​Film Festival Montpellier 2023.

Credits

Music: Athena by Karl Casey

Bare Life
Bare Life depicts a loosely structured, contested concept of freedom tied to various cases and agents: killing and being killed, machines recognizing pain, and the complex ecosystem of empathy that occurs in response.

Prometheus Bound
In Greek Mythology, Prometheus stole fire (technology) from Zeus and gave it to humans, and for this, he got crucified on a mountaintop, and had to endure the eternal pain as a punishment. Since the beginning of our civilization, technology has been the source of prosperity and development. But also it has been the cause of great tragedies such as war sand nuclear accidents. Setting the Aeschylus Greek tragedy “Prometheus Bound” as a starting point, Koizumi created VR (Virtual Reality) theater which deals with this age-old tension between humanity and technology, through collaboration with a person who is desperately longing for the technological advancement – a person who is suffering from ALS (Amyotrophic Lateral Sclerosis- the deadly neurological disease that make a person paralyzed). Through the dialogues with the man about his personal life and his visions of the future, they created a sci-fi vision in which past and future, self and others, humans and machines are all merged into one sequence of abstract VR theatrical experience.

Halo
In these six animated paintings presented as a single channel video, the artist reenacts situations and motifs from the first-person shooter series Halo and the erotic videogame Dream Stripper. Conceived as a dynamic, virtual collage, HALO shows short stock animation loops of characters dying over and over, with koi, dining chairs, asteroids, guns, flowers, torches, pinball machines, candles, and discarded pillows floating around them, creating a hypnotic motion.

Landscape Paintings
Jardins d’Été by Quayola pays homage to the tradition of french impressionism and the late works of Claude Monet.The second iteration of this series of artworks investigates the ways in which nature is observed, studied and synthesized, becoming a point of departure towards abstration. Quayola recreated similar conditions to the classical impressionist landscape paintings, however he engaged with an extensive technological apparatus to capture the sensitive nuances of reality beyond our senses. Here natural landscapes are observed and analysed through the eye of the machine, and re-purposed through new modes of visual synthesis.

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.

A3 K3
A3 K3 is a unique interactive experience. Artworks are created by machine technology and audience participation. Dragan Ilić uses g.tec’s brain-computer interface (BCI) system where he controls a hi-tech robot with his brain. The artist and the audience draw and paint on a vertical and a horizontal canvas with the assistance of the robot. The robotic arm is fitted with DI drawing devices that clamp, hold and manipulate various artistic media. They can then create attractive, large-format artworks. Ilić thus provides a context in which people will be able to enhance and augment their abilities in making art.

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’.

reawaken
Reawaken is a kinetic sculpture with 55 robotic arms, powered by 55 servo motors. The lowering of the arms causes an abstract print on paper. Technology mirrors humanity, and vice versa. In addition to creating beauty, technology is there to meet our needs. We, and our needs, have evolved to a point where we are so integrated that we consume technology on autopilot. We live in a time of mass production in which our daily devices increasingly mimick each other. A smartphone is a small tablet, a tablet a small computer and a computer a small television. The question of what this does with our imagination, together with the increasingly invisible technological progress such as algorithms and artificial intelligence, have been my starting point for Reawaken.

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.

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What exactly is METAMACHINE? The metaphor comes from the artistic path of Atsushi Koyama, one of the participating visual artists. While emphasising the aesthetic qualities of machines and mechanical drawings in oil paintings, Koyama merges the human body with mechanisms, creating a man-machine (similar to the notorious Tetsuo, but in a more sublimated way). As if to incorporate the beauty of the human body, Koyama’s mechanisms break away from their earthly nature. They take us to another reality, beyond utilitarian usage or function itself. Koyama’s machines act more like ‘mechanical’ (‘mechaaesthetical‘) keys to another dimension, existing outside of the physical reality and its laws.

Chromadynamica
Pantone’s work deals with dynamism, transformation, digital revolution, and themes related to the present times. Felipe Pantone evokes a spirit in his work that feels like a collision between an analog past and a digitized future, where human beings and machines will inevitably glitch alongside one another in a prism of neon gradients, geometric shapes, optical patterns, and jagged grids. Based in Spain, Pantone is a byproduct of the technological age when kids unlocked life’s mysteries through the Internet. As a result of this prolonged screen time, he explores how the displacement of the light spectrum impacts color and repetition.

スプツニ子！
カラスボット☆ジェニー
Menstruation Machine

So what does Menstruation mean, biologically, culturally and historically, to humans? Who might choose to have it, and how might they have it? The Menstruation Machine — fitted with a blood dispensing mechanism and electrodes simulating the lower abdomen — simulates the pain and bleeding of a 5 day menstruation process. The machine was developed with research support from Professor Jan Brosens at the Department of Medicine, Imperial College London.

Vision Machines
“Vision Machines is all about tools that force people to look at art. In my current research on using robots to look at art, I question how people look at art. Is it possible to force someone to really see a work of art? Must a viewer be open to a subject to be critical and enjoy a painting? Such questions arise from the current debate on whether a work of art can only be meaningful for people who want to delve into it.”

让汤格利
ז’אן טינגלי
ジャン·ティンゲリー
장 팅겔리
ЖАН ТИНГЕЛИ
03823 Metamechanical Sculpture with Tripod
Born in Fribourg (1925) and passed away in Berne (1991), Jean Tinguely is a Swiss painter-scultpor usually associated with the kinetic art and the Nouveau Réalisme. After a short period of abstract painting, he turned towards the mechanical sculpture. From 1951, he assembles strange robotic machines working on the physical and perceptive movement.

레이 놀드 레이놀즈
РЕЙНОЛЬД РЕЙНОЛЬДС
Secrets Trilogy
Secret Machine

Secret Machine is the second of the Secrets Trilogy; a cycle exploring the imperceptible conditions that frame life and is preceded by Secret Life (2008) and followed by Six Easy Pieces (2010)
In Secret Machine a woman is subjected to Muybridge’s motion studies. She is treated in the same fashion as in the original Muybridge photography: with Greek aesthetic in a Cartesian grid. A short time after Mybridge’s studies, Duchamp painted Nude Descending a Staircase, No. 2 (1912) attempting to show time on a flat surface. He is expanding cubism and painting into another dimension: time. Time is about movement and change, like our experience of reality. Without change life does not exist. Photography does not capture this experience. In Secret Machine different filming techniques are compared to the motion of the body. The film camera becomes another measurement tool in a way a video camera cannot. The intention was to make an art piece from the point of view of a machine, specifically a camera.
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Stressato – Samurai Serpents
File Festival
Samurai Serpents” resembles Jean-Pierre Gauthier’s drawing machines (such as Marqueurs d’incertitude). Like many of the artist’s creations, the work emphasizes graphic quality and the movement of a line in space. On a large panel covered by an “action painting” (that is reminiscent of the textured and dark surfaces of a Borduas, Soulages or Kline), which looks like a (drawing?) table, cables are activated by an approaching viewer and begin to wiggle all over the place, twisting and intertwining in a surprising way – as though they were actually reacting to a threat. In moving about in this way, these silver lines on a black ground continuously change the “painting’s” composition and transform it into an animated image. Like a musical improvisation, the line’s disorganized movements create sounds that vary each time.

emerging colorspace
Julian Adenauer and Michael Haas
Emerging Colorspace was a robotic drawing installation, realized by the Berlin based duo of artists, designers and inventors Julian Adenauer and Michael Haas, aka Sonice Development, as part of the Red Never Follows exhibition the Saatchi Gallery in London last summer. A new version of the studio’s Vertwalker, a machine with the ability to move on vertical surfaces, walking on buildings, and crawling on interior walls. The machine autonomously applied paint to the wall using a marker, referencing the vertical streets in Minority Report, the flying cars in Bladerunner and 5th Element, or Spiderman, the Silver Surfer and the Green Goblin – just to name a few sources of inspiration that expressed the supernatural. Thousands of lines drawn with different colors gradually formed an increasingly dense colorspace that emerged during the more than 200 exhibition hours, while the wandering behavior of the machine followed simple algorithmic rules with random elements. The result was a web that constantly changed, and never looked the same, exploring new territories and the future in a way ordinary mortals can’t.

What A Way To Go!(Movie)
painting machines (Scene)

Paul Newman as “Larry Flint”, an ex-patriot artist living in Paris. Shirley MacLaine as “Louisa”, looking for the simple life._”Larry” develops abstract painting machines consisting of a controllable arm with a paint-brush “hand”._He explains to “Louisa”, “The sonic vibrations that go in there. And that gets transmitted to this photoelectric cell which gives those dynamic impulses to the brushes and the arms. And it’s a fusion of a mechanised world and a human soul.””Larry” uses a siren, horn, alarm bell, bongo, sledge hammer and a pneumatic jack hammer amongst other things as random sound sources for his abstract art.

مارسيل دوشامب
马塞尔·杜尚
מרסל דושאן
マルセル·デュシャン
Марсель Дюшан
Étant donnés
Duchamp worked secretly on the piece from 1946 to 1966 in his Greenwich Village studio.[2] It is composed of an old wooden door, nails, bricks, brass, aluminium sheet, steel binder clips, velvet, leaves, twigs, a female form made of parchment, hair, glass, plastic clothespins, oil paint, linoleum, an assortment of lights, a landscape composed of hand-painted and photographed elements and an electric motor housed in a cookie tin which rotates a perforated disc. The Brazilian sculptor Maria Martins, Duchamp’s girlfriend from 1946 to 1951, served as the model for the female figure in the piece, and his second wife, Alexina (Teeny), served as the model for the figure’s arm. Duchamp prepared a “Manual of Instructions” in a 4-ring binder explaining and illustrating how to assemble and disassemble the piece.