FEITO À MÃO

Escola de Comunicações e Artes da Universidade de São Paulo (ECA-USP)

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – LED SHOW
Electronic Language International Festival

Feito à Mão – Brazil

Feito à Mão (Handmade, in Portuguese) brings together three works developed from the same question: where do the boundaries between craftsmanship and automation lie? These two modes of production intertwine in a narrative thread that begins with the earth itself—Gaia—and incorporates electronic techniques that transform life and the urban landscape, challenging our notions of what it means to be handmade. Between turning the soil, reshaping the urban environment, and fragmenting the languages of art, discussions emerge about the role of manual processes in relation to new technologies within today’s artistic landscape.

BIO

Support
Grupo de Pesquisa e Extensão Realidades – ECA-USP

Advising
Profa. Dra. Silvia Laurentiz 

Collaboration
Jo Seraph
Leona Machado

Participants
Alex Avramides Levin
Angélica Sofía García Perez
Antônia Laureano Suarez
Bruna Krunfli
Cristiana Cruz
Hugo Alves Paiva
Isaac Duarte Bender
Isabelle Telles Matias
Isabella Carvalho de Melo
Lúcia Yoojung Moon
Maria Muniz Fleury de Camargo
Pietro Galastre Atore
Raphael Delaroli Bezerra Couto
Raquel de Souza Oliveira
Reginaldo Aquino
Ryan Gonçalves
Tainá Delfino

FILE 2026

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

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

FILE 2026 | GENERAL REGULATIONS

ORB
The shape of the piece alludes to the ‘pi’ number concealed in the geometry of the Pyramids, found when dividing the perimeter of a Pyramid by twice its height. The sphere is an invisible part of the resulting geometry, since a sphere with a radius as high as the Pyramid would have a circumference very close in length to the Pyramid’s perimeter. The surface of the artwork captures the Pyramids, the sky, the surroundings and the viewers in a multiple fragmented reflection. It references the role of the circular mirror in historical Egyptian symbolism, where it was linked to the sun and conveyed notions of creation and rebirth.

frequencies (light quanta)

The project is part of an ongoing process entitled «frequencies», exploring basic sound and light dichotomic systems. Here, frequencies (light quanta) stems from a fascination towards science, light, and granular synthesis allowing to create clouds/grains of sounds. The conceptual focus lies in the quantum — the smallest measurable value of energy —, on the smallness of matter. The whole project is based on the possible conceptual relationships between basic quantum physics principles applied to the audio-visual creative process: particles, probabilities, wave/particle duality and discontinuity. Metaphorically structured around these notions, the audio-visual composition stems from 100 sound and light micro-sequences that develop themselves, generating an ever expending but yet disruptive form in time and space. With the use of randomness, the vectorial graphics are always creating new ways to look at the visual, physically superimposing pattern images.

AI-DA
Ai-Da est le premier artiste ultra-réaliste au monde. Elle dessine en utilisant des caméras dans ses yeux, ses algorithmes d’IA et son bras robotique. Créée en février 2019, elle a eu sa première exposition solo à l’Université d’Oxford, « Unsecured Futures », où son art a encouragé les téléspectateurs à réfléchir à notre monde en évolution rapide. Depuis, elle a voyagé et exposé des œuvres à l’échelle internationale, et a eu sa première exposition dans un grand musée, le Design Museum, en 2021. Elle continue de créer de l’art qui remet en question nos notions de créativité dans une ère post-humaniste.

Urban imprint
“If there is to be a “new urbanism… it will no longer be concerned with the arrangement of more or less permanent … but for the creation of enabling fields….that refuse to be crystallized into definitive form; it will no longer be about meticulous definitions, the imposition of limits, but about expanding notions, denying boundaries, not about separating and identifying entities, but about discovering hybrids; it will no longer be obsessed with the city but with the manipulation of infrastructure for endless intensifications and diversifications, shortcuts and redistributions – the reinvention of psychological space.”, Dutch architect + Harvard Professor, Koolhaas 959, writer of Delirious New York. URBAN IMPRINT is how we design a piece of this new urbanism, an augmented materiality , as we define it. An environment that is a ‘blank canvas’ to be reshaped by the future self.

Onion Skin
Principalement basé sur l’expérience de la réalité et les représentations de la perception de l’espace, Olivier Ratsi considère la réalité objective, le temps, l’espace et la matière comme des notions d’information intangibles.
Son travail consiste à concevoir des processus de discontinuité avec ces notions afin de pouvoir partager avec le spectateur un autre point de vue.
Par le biais de ce processus, Ratsi crée une cassure dans cette réalité objective, altérant notre perception du réel.
Toutefois cette cassure significative et perturbante est assez modérée afin de ne pas priver le spectateur de sa capacité subjective de reconstruction/reconstitution de la réalité, via son expérience et sa propre culture. Le processus de création basé sur la déconstruction des repères spatio-temporels et les dispositifs utilisant la technique de l’anamorphose, développée au cours de ses recherches, jouent principalement le rôle de déclencheurs d’émotions, qui n’ont pas seulement pour but de montrer ce que peuvent être les choses autrement, mais plutôt de questionner leurs références.

Roots of rebirth
During such rarefied times, the designer explores a symbiosis of high technology and the artisanal craftsmanship of couture, through a collection that references the intricacy of fungi and the entanglement of life that breathes beneath our feet. Through ‘Roots of Rebirth’, Van Herpen notions towards the miraculous lacery of interconnectedness from the natural ‘wood wide web,’ weaving a dialogue between the terrestrial and the underworld. ‘Roots of Rebirth’ extends its own branch, an invitation to a sequence of 21 looks inspired by roots and spores. During the show, the models seem to magnetise a living lace of spores with each stride, the entanglement of each garment resembles roots of regeneration.

OCULUS
OCULUS: A Spatial Experience Based on the Interaction of Architecture and Media Arts
An audio-visual performance based on a selection of HAS Architects works interpreted by NOHlab and Buşra Tunç
A selection of HAS Architects’ projects is presented in a performance that blends digital technology with spatial design, forming a synthesis between the past and the present within the magical atmosphere of the historical Single- Dome Hall of the Imperial Arsenal.
Taking the Single-Dome Hall as the focal point, the exhibition uses contemporary interpretations to alternate between old and new, whole and fragment, real and virtual, balanced and unbalanced states. Notions of time and space become blurred and the exhibition surrounds the visitors, offering them an unusual spatial experience.

YOUARENOWHERE
Conjuring a futuristic sort of shamanism, Andrew Schneider’s YOUARENOWHERE experiments with the virtues of sensory overload via quantum mechanics, parallel universes, and the “Missed Connections” board on Craigslist. Battling glitchy transmissions, crackling microphones, and lighting instruments falling from the sky, one guy on a mission and a tricked-out interactive new-media landscape merge to transform physical space, warp linear time, and short-circuit preconceived notions of what it means to be here now.

池田亮司
이케다 료지
РЕДЗИ ИКЕДА
superposition
superposition is a project about the way we understand the reality of nature on an atomic scale and is inspired by the mathematical notions of quantum mechanics. Performers will appear in his piece for the first time, performing as operator/conductor/observer/examiners. All the components on stage will be in a state of superposition; sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness – these will be constantly orchestrated and de-orchestrated simultaneously in a single performance piece.

The Collector
Born in Parkersburg, West Virginia and raised in Houston, Texas, Rachel Lee Hovnanian is a New York-based artist whose multidisciplinary practice explores contemporary notions of narcissism, obsession and intimacy, and society’s alienating addiction to modern technological advances and media.

OCULUS
Oculus was a site-specific installation designed for Istanbul Design Biennale in 2016, and exhibited in Tophane-i Amire. A selection of HAS Architects’ projects is presented in a performance that blends digital technology with spatial design, forming a synthesis between the past and the present within the magical atmosphere of the historical Single-Dome Hall of the Imperial Arsenal. Taking the Single-Dome Hall as the focal point, the exhibition uses contemporary interpretations to alternate between old and new, whole and fragment, real and virtual, balanced and unbalanced states. Notions of time and space become blurred and the exhibition surrounds the visitors, offering them an unusual spatial experience.

Data.scape
Permanent Installation
Japan’s leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.

Automatic Piano
Inspired by the work of James Tenney, György Ligeti, Charlemagne Palestine, and Conlon Nancarrow, Seth Horvitz’s Eight Studies for Automatic Piano makes use of simple, computer-aided compositional processes to test the limits of human perception and machine precision. It relies on a bare minimum of technical means to explore notions of temporal distortion, iterative process, and elegant complexity.

Sergio Recabarren est un artiste media et photographe. Son travail explore à partir de l’abstraction des notions de psychédélisme inspirées par des symboles chamaniques et d’art visionnaire.

克莱因瓶
Klein’s bottle

The Klein bottle is a non-orientable surface; informally, it is a surface in which notions of left and right cannot be consistently defined.Simplifying things: A Möbius strip is a simpler example of a non-orientable object. That means it has no inside or outside. Add another aspect – having no boundaries – to it, it gets more complex and you end up with a Klein bottle.

Absent Engagement
Alexandra Zierle (DE) and Paul Carter’s (UK) collaborative work is interdisciplinary, multi-sensory and often site/context responsive, spanning performance, happenings and interventions, sound, video and installation. Through their collaborative practice, Zierle & Carter critically examine different modes of communication and what it means to be human, addressing notions of belonging, dynamics within relationships, and the transformation of limitations. Their work sites an embodied investigation into human interactions and encounters, acting as an invitation to venture into the spaces in-between the external and internal, permanent and transient, spoken and unheard. The work fundamentally explores society’s conventions, traditions, and rituals, often flipping them on their head, reversing orders, and disrupting the norm.

Paper Orbs
Paper Orbs begins the night as a massive origami sculpture which dissolves into thousands of paper helmets worn by visitors as they parade down University Avenue. As both a lantern and a center of gravity, the paper float pulls visitors in and encourages them to return throughout the night to experience the dissolution of the paper sculpture. The accumulated paper helmets disperse into scattered constellations that float along the street. The helmets also resonate with notions of patterned order and militaristic armour.

Camphor Flame on Pedestal
Michael Bühler-Rose’s practices on multiple platforms influence his production as an artist. He has described his subjects as “theatrical cultural realities” and “feats of representation through place and displacement.” Bühler-Rose uses western painting styles: still lifes, landscapes, portraits, to play with previous political notions of Hindu and Indic aesthetics: representations of gods and goddesses, incense, flowers, or the saris or bharatnaytam outfits worn by young women of European descent who live in a Hindu community in Florida.

ЛИАНА ЛАНГА
Her work is concerned with notions of animacy, which she investigates through sculpture, photography and video works. Many of Lang’s works examine museum objects and the biographies they attempt to narrate, modes of display and the verisimilitude of art objects, particularly figurative sculptures and political monuments.

Ways of Water – A Love Potion for Nature
Alexandra Zierle and Paul Carter’s collaborative work is interdisciplinary, multi-sensory and site and context responsive spanning performance, happenings, interventions, sound, video and installation. Through their practice, Zierle & Carter critically examine different modes of communication and what it means to be human both as individuals and as a ‘collective entity’. Their work addresses notions of belonging, cultural identity, the dynamics within relationships, harmony through conflict and the transformation of limitations.

제이슨 피터스
ジェイソン·ピーターズ
visceral paradigm
In my work I attempt to trigger and explore both intellectual and emotional reactions to the ways in which objects interact with their surrounding environment. I try to set up a situation where nothing is as it seems, and our notions of reality are exposed as mere assumptions, based on perceptions and experiences that may or may not bear any actual relationship to the way the world works.

Measure
“I worked here on a physical representation of the idea of measure. The objective was to ‘materialize’ tension in a sense, to make the notions of weight, distance and angle palpable…This work lies in the context of my search for purification around raw materials such as concrete and metal. This is why I played with simple shapes which catch light and transcend the volume structure.”

ロナン＆エルワン·ブルレック
РОНАН И ЭРВАН БУРУЛЛЕК
БУРУЛЛЕК БРАТЬЯ
17 screens
French designers Ronan and Erwan Bouroullec have been working together for over 20 years now. Their interpretive approach to design channels the discussion away from notions of aesthetics or technology towards a more conceptual setting. Drawing primarily on organic phenomena, they produce furniture and design elements that converge in intricate formations, like a sophisticated second nature that undermines the commonplace hierarchies of objects and space through units that are essentially moveable.

Response
Set against the backdrop of the digital age, Laura Plageman considers notions of realism and authenticity using analog processes. In her Response series, she treats photographs as both representations and tangible objects, touching on the possibilities of realist representation, referentiality, and the photograph-as-thing. Her work has been exhibited in galleries and institutions across the United States and internationally. She lives and works in Oakland, California.

КЛЕР МОРГАН
كلير مورجان
克莱尔·摩根
クレア·モーガン
클레어 모건
By the Skin of the Teeth
My work is about our relationship with the rest of nature, explored through notions of change, the passing of time, and the transience of everything around us. For me, creating seemingly solid structures or forms from thousands of individually suspended elements has a direct relation with my experience of these forces. There is a sense of fragility and a lack of solidity that carries through all the sculptures.

Êxtase (ecstacy), Ascensão e Morte

With a multiple artistic production expressed in the form of drawing, sculpture, video, acting, politics, education and publications, it seeks to challenge and explore the formal structures, materiality and visuality in contact with the notions of theatricality in contemporary life.

Canary

Les grimpeurs ne prêtent pas leurs cordes. Ils doivent leur faire confiance, connaître leurs antécédents d’utilisation, leur usure, leur élasticité et leur durabilité. Les différentes couleurs de cordes représentent des usages spécifiques. Accroché à flanc de montagne, c’est un soulagement de savoir quoi ou qui est au bout de quelle corde. Canary est basé sur l’histoire de l’élevage des oiseaux, qui est une métaphore directe du mélange pictural des couleurs. L’obsession de créer l’oiseau rouge au début du XXe siècle est comme l’objectif d’une peinture monochromatique parfaite. Les notions d’amélioration raciale ont des liens avec la discussion contemporaine sur l’éthique de la génétique. J’ai également considéré le lien entre la pureté de la forme moderne et le point de vue idéaliste. Lorsqu’un tableau ou une œuvre de sculpture est réduit à sa surface, il est idéalisé pour n’être que ce que nous y voyons. Le motif visuel d’une œuvre ne sert que de composition.

Dividual Plays
While the antonym of “individual” is “collective” in general, Gilles Deleuze (1925-95), a French philosopher, came up with the notion of “dividual” since the preposition “in” disaffirms the following word. Notions of “individual” and “dividual” have been, and continue to be, discussed in various contexts such as the economy, civil society, personal identity and more.
Through her time at The Forsythe Company, Yoko Ando came to define improvisation as “being individual but with the possibility of being collective at the same time”. While each agent performs independently, he/she is synchronized with other dancers simultaneously. RAM project began by finding shapes for the ideas in Yoko’s dancer’s mind. The piece expands on the idea of “dividual” and explores new dance, new notions of the body and the new relationships between the human body and technology by pursuing deeper interaction between dancers and the notion of system.

INJECT
A HUMAN BODY IS INJECTED IN A CISTERN. OVER THE COURSE OF 45 MINUTES, THE PRESSURE OF THE LIQUID EXERTS UPON HIM MULTIPLE NEUROSENSORIAL TRANSFORMATIONS. FROM HIS EPIDERMAL FIBER TO HIS NERVOUS SYSTEM, HE REACTS TO INFLUXES OF VISCOSITY IN THIS LIQUID CHAMBER. HIS CORTEX, LACKING OXYGEN, GRADUALLY LOSES ALL NOTIONS OF THE REAL. LIKE A HUMAN GUINEA PIG: A MATTER-BODY WHOSE PSYCHOLOGICAL STATES ARE THE OBJECT OF KINETIK TABLEAUX, OF SINGULAR TEMPORAL SPACES.

Клер Морган
كلير مورجان
克莱尔·摩根
クレア·モーガン
클레어 모건
Lo
My work is about our relationship with the rest of nature, explored through notions of change, the passing of time, and the transience of everything around us. For me, creating seemingly solid structures or forms from thousands of individually suspended elements has a direct relation with my experience of these forces. There is a sense of fragility and a lack of solidity that carries through all the sculptures.

iTouch
Anti-Utopias

The work deals with the notions of “smart technology” gaining more and more presence in the lives of the people and their environments. The gadgets and screens become almost self-explanatory. The technological objects seem to become more personalized, but the whole body – object interaction sets are defined by the objects design and interface.