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!

アンヌ·テレサ·ドゥ·ケースマイケル
АННЫ ТЕРЕЗЫ ДЕ КЕЕРСМАКЕР
Quatuor N°4
The movement vocabulary of “Quartet No. 4” (originally part of a longer evening, “Bartok/Annotations”) is simple, with elaborations on walking and turning movements that incorporate everyday motion (smoothing hair, opening out the hands, a quick unpolished handstand) and folk dance-like skipping, hopping and heel-clicking jumps.

Coro pêndulo
Pendulum Choir é uma peça coral original para 9 vozes A Cappella e 18 macacos hidráulicos. O coro é constituindo por um corpo vivo e sonoro. Esse corpo se expressa por meio de vários estados físicos. Sua plasticidade varia de acordo com sua sonoridade. Varia entre sons abstratos, sons repetitivos e sons líricos ou narrativos. Os corpos dos cantores e suas vozes brincam com e contra a gravidade. Eles se tocam e se evitam, criando polifonias vocais sutis. Ou, apoiados por sons eletrônicos, rompem sua coesão e explodem em um voo lírico ou se dobram em um ritual obsessivo e sombrio. O órgão viaja da vida à morte em uma alegoria robótica onde a complexidade tecnológica e o lirismo dos corpos em movimento se combinam em uma obra com acentos prometéicos.
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Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir is constituted by a living and sonorous body. This body expresses itself through various physical states. Its plasticity varies according to its sound. It varies between abstract sounds, repetitive sounds and lyrical or narrative sounds. The singers’ bodies and their voices play with and against gravity. They touch and avoid each other, creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and explode in a lyrical flight or bend in an obsessive and dark ritual. The organ travels from life to death in a robotic allegory where technological complexity and the lyricism of moving bodies combine in a work with Promethean accents.

Moses und Aron
Oper in drei Akten Arnold Schoenberg
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Jean-Marie Straub
homage
R.I.P
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Moses und Aron, known in English as Moses and Aaron, is a 1975 film by the French filmmaking duo of Jean-Marie Straub and Danièle Huillet based on the unfinished opera of the same title by c. During its 1975 run at US festivals, it was also known as Aaron and Moses, and was frequently reviewed as such.
It is one of three films based on Schoenberg works Straub and Huillet directed, the other two being Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene , a short film made directly before Moses und Aron, and, over two decades later, an adaptation of the one-act comic opera Von heute auf morgen. The film retains the unfinished nature of the original opera, with the third act consisting of a single shot with no music as Moses delivers a monologue based on Schoenberg’s notes.The film was shot on location in Italy and Egypt. It utilized the same team of cinematographers as Straub and Huillet’s Chronicle of Anna Magdalena Bach. The soundtrack and cast of the film is the same as the 1974 recording conducted by Michael Gielen (Philips 6700 084).The original German version of the film was dedicated to Holger Meins, a former cinematography student who joined the Red Army Faction in the early 1970s and died on hunger strike in prison. This dedication was censored by German broadcasters for the film’s first transmission in 1975. The English subtitles of Schoenberg’s dense German libretto were prepared by assistant Gregory Woods, who is credited on the DVD.The film was shown at the 1975 Cannes Film Festival, but was not entered into the main competition.

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cinema full

Golden Years
Jacky Tsai is a Chinese artist based in London. His inventive approach fuses traditional eastern artistic techniques and imagery with western Pop Art references to create an original style that seeks to establish balance and harmony between cultural extremes.

AIDOL
Lawrence Lek präsentiert AIDOL, die Fortsetzung seines 2017er CGI-Films Geomancer. Mit einer vom Künstler geschriebenen und orchestrierten Partitur erzählt diese computergenerierte Fantasy die Geschichte eines verblassenden Superstars, Diva, der einen aufstrebenden KI-Songwriter für eine Comeback-Performance beim olympischen eSport-Finale 2065 engagiert. In einem Nebel-und-Spiegel-Reich aus fantastischer Architektur, empfindungsfähigen Drohnen und schneebedeckten Dschungeln dreht sich AIDOL um den langen und komplexen Kampf zwischen Mensch und Künstlicher Intelligenz. Ruhm – in all seiner Anziehungskraft und Leere – steht den größeren Widersprüchen einer Post-KI-Welt gegenüber, einer Welt, in der Originalität manchmal nur ein algorithmischer Trick ist und in der Maschinen die Fähigkeit haben, zu lieben und zu leiden.

17Mai Hi Ten Yu
Die künstliche Intelligenz (KI) von Yamaha ermöglichte es dem weltberühmten Tänzer Kaiji Moriyama, ein Klavier durch seine Bewegungen zu steuern. Die im System verwendete KI kann die Bewegung eines Tänzers in Echtzeit identifizieren, indem sie Signale von vier Arten von Sensoren analysiert, die am Körper eines Tänzers angebracht sind. Dieses System verfügt über eine Originaldatenbank, die Melodie und Bewegungen verknüpft. Mit dieser Datenbank erstellt die KI im System sofort geeignete Melodiedaten (MIDI) aus den Bewegungen des Tänzers. Das System sendet dann die MIDI-Daten an ein Yamaha Disklavier ™ -Player-Klavier und übersetzt sie in Musik.

CHAOS #501
Introducing CHAOS, 501 original works in the form of unique digital sculptures. Each NFT in CHAOS consists of two unique objects (an array of familiar objects to people today) that have been 3D scanned. They are set on a colliding course in motion and orbit. The sculptures, operating as an archeology of the present, are intended to manifest in any format that is capable of displaying, playing or showing a 3D sculpture in motion. The culmination of the project is CHAOS #501, a single entity NFT uniting all one-thousand objects represented in #1-#500.

Originally from Wuhan, China, Terrence Zhou is a promising fashion designer based in New York City. Having a background in design and mathematics, Terrence leans on his multifaceted understanding of Chinese tradition, mathematics, Greek mythology and artistry to create collections seemingly out of this world.
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Terrence Zhou 来自中国武汉，是纽约市一位很有前途的时装设计师。拥有设计和数学背景的 Terrence 凭借对中国传统、数学、希腊神话和艺术的多方面理解，创作出看似与世隔绝的系列。

Bleu Remix
In his spectacle-installation Bleu Remix, Yann Marussich returns to a theme originally explored in Bleu Provisoire (2001), a spectacle in which a mysterious blue liquid oozes through the layers of his skin as though it were the final effect or by-product of his body’s inner processes. In Bleu Remix, the artist once more invites the viewer to experience an intimate journey through the corners of his body. Each time the spectacle is performed, a different (local) musician accompanies Marussich. This unique, singular confrontation establishes a new relationship between the sound and image. The meeting of the two artists brings an element of risk and uniqueness to the event, as if the music explores the spectacle repeatedly, resulting in new ways of perception.

Less faithful to the original text than Robert Wise’s 1971 film, the current version, whose executive producers include Tony and Ridley Scott, retains the essential elements of the plot: a government satellite on an intergalactic germ-related fact-finding mission crashes into a small town out West, emitting a deadly pathogen that kills everyone nearby save for an unhealthy older man and a baby whose survival is an epidemiological mystery. The military is called in to contain the disaster, and a team of high-status scientific researchers is assembled to determine the capacities of whatever is causing this plague and thus forestall the end of civilization.

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EONTA
“Eonta (beings) is so entitled as a homage to the ancient Greek philosopher and poet Parmenides. The original printed form of the title word is Cypriot orthography of Creto-mycaenean origin, lost for over 24 centuries and only recently deciphered. Eonta, written in Berlin during 1963-64, was first performed at the Domaine Musical concerts in Paris, conducted by Pierre Boulez, in December 1964. It makes use of stochastic music (based on the theory of probabilities) and symbolic music (based on logistics). Some of the instrumental parts, notably the piano solo at the opening, were calculated on an IBM 7090 computer at the Place Vendôme, Paris.”
(Iannis Xenakis)

Replica
We begin with a tour of a virtual 3D model of the London house-cum-museum built by 19th-century architect Sir John Soane. The journey traverses the five floors of the museum’s meticulously restored rooms, each filled with original and duplicate fragments of antiquity. Sir John Soane (1753-1837) was one of the foremost British architects of the Regency era, a Professor of Architecture at the Royal Academy, and a dedicated collector of paintings, sculpture, architectural fragments and models, books, drawings and furniture. Soane was awarded the Royal Academy’s prestigious Gold Medal for Architecture, as a result receiving a bursary (funded by King George III) to undertake a Grand Tour of Europe. His travels to the ruins of Ancient Rome, Paestum and Pompeii would inspire his lifelong interest in Classical art and architecture. As an enthusiastic collector, later in life he began to repurpose his home at Lincoln’s Inn Fields as a Museum for students of architecture. With a collection containing thousands of objects ranging from Ancient Egyptian antiquities and Roman sculpture to models of contemporary buildings, Soane’s house had become a Museum by the time of his death.

Echo Echo
Echo Echo è un’installazione multimediale interattiva che utilizza gli assistenti virtuali per creare un eco digitale. Attivato dall’interazione umana, ogni dispositivo ascolta il suo predecessore e risponde di conseguenza. Nel corso di questa eco digitale, l’input originale diventa sempre più alienato. Simile al gioco Telephone (tedesco: Stille Post), le informazioni che riceviamo alla fine molto spesso non hanno nulla a che fare con il messaggio originale. Il lavoro è un approccio giocoso e un commento su uno dei problemi più grandi delle nostre attuali vite digitali.

Realtà artificiale
L’entità “super-reale” costruita dietro la realtà virtuale, la Realtà Artificiale viene creata e copiata continuamente dal subconscio generato artificialmente, dalla proiezione, travestimento e distorsione dell’immagine reale, al travestimento che non esiste. , separato dall’immagine reale e dal fatto, diventa un mimetismo indipendente, gettato nella realtà che gli umani ancora pensano, e produce una superrealtà che è più reale della realtà, e diventa una nuova realtà. Nella realtà caotica tessuta dalla realtà originale e dall’iperreale generato artificialmente, le nostre vite saranno solo i nostri simulacri? L’iperrealismo diventerà il nuovo “surrealismo”?

Atmospheric Wall

大气波浪墙，一个新的文化地标和芝加哥首个公共艺术装置，由全球知名艺术家奥拉维尔·埃利亚松 (Olafur Eliasson) 设计。突出显示在外部杰克逊大道。墙，原件是专门为威利斯大厦创作的。大气波浪墙提供了一种免费且易于访问的方式，可以在 Loop 体验户外世界一流的艺术。
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Atmospheric wave wall, a new cultural landmark and the first public art installation in Chicago by globally acclaimed artist Olafur Eliasson. Prominently displayed on the exterior Jackson Blvd. wall, the original piece was created specifically for Willis Tower. Atmospheric wave wall provides a free and accessible way to experience world-class art outdoors in the Loop.
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Стена с атмосферными волнами, новая культурная достопримечательность и первая инсталляция в Чикаго, созданная всемирно известным художником Олафуром Элиассоном. Заметно отображается на экстерьере Jackson Blvd. стена, оригинальная часть была создана специально для Уиллис Тауэр. Стена с атмосферными волнами – это бесплатный и доступный способ познакомиться с искусством мирового класса на открытом воздухе в Loop.

Small Flower Bits
“Small Flower Bits” est une ode audiovisuelle poétique à l’océan avec apprentissage automatique. En utilisant une approche de technologie lente, un petit ensemble de données d’un peu plus de 2680 photos de récifs menacés du monde entier a été synthétisé sur la composition musicale originale de Henry Thr MIller.

Tolles Tierorchester
Die Fondation Cartier lud United Visual Artists ein, an der Ausstellung The Great Animal Orchestra mitzuarbeiten, in der die Arbeit des Musikers, Bioakustikers und Wissenschaftlers Bernie Krause gefeiert wird. Krause zeichnet seit 45 Jahren Tiere auf und hat eine Sammlung von mehr als 5.000 Stunden Klängen von über 15.000 einzelnen Arten in ihren natürlichen Lebensräumen aus aller Welt zusammengetragen. Der kreative Ansatz von UVA verband die verschiedenen Elemente des Ausstellungsinhalts im gesamten Kellerraum – Klanglandschaften, Spektrogramme und Kunstwerke – zu einer zusammenhängenden, eindringlichen Erfahrung, die Krauses Aufnahmen dreidimensionalisiert und Szenen aus der Natur vorschlägt. Die Spektrogramme bilden eine abstrakte Landschaft, eine Interpretation der verschiedenen globalen Orte und Tageszeiten, zu denen Krause die Originalaufnahmen auf eine Weise gemacht hat, die das Publikum einhüllt und es ermutigt, im Raum zu verweilen.

Мари Шуинар
BODY REMIX GOLDBERG VARIATIONS
Durante los primeros pasos de esta creación, los bailarines y yo trabajamos sobre las Goldberg Variations de Bach, tal y como las interpretó Glenn Gould en 1981, así como la voz del pianista, con sus cadencias orales durante una entrevista de radio dedicada a esta particular interpretación.
Emprendí el trabajo con una mezcla de los cuerpos de los bailarines, a través del uso de varios elementos de apoyo: muletas, picos, arneses, etc. Una barra de ballet fue trasformada en un material musical. Pedí también al compositor Louis Dufort que usara un “apoyo”, concretamente una interpretación de Gould y su voz, y a proponer variaciones sobre las Variations. Diez de las treinta variaciones, así como las dos Arias, fueron remezcladas o incluso recompuestas (1, 2, 4, 11, 15, 16, 21, 23, 25 and 29). Otras tres variaciones (5, 6 y 8) se ofrecerán en su versión original.

Great Animal Orchestra
The Fondation Cartier invited United Visual Artists to collaborate on The Great Animal Orchestra, exhibition that celebrates the work of musician, bio-acoustician and scientist Bernie Krause. Krause has been recording animals for 45 years and has amassed a collection of more than 5,000 hours of sounds  recording of over 15,000 individual species in their natural habitats from all over the world. UVA’s creative approach linked together the various exhibition content elements throughout the basement space — soundscapes, spectrograms and art works — into a cohesive, immersive experience that three-dimensionalises Krause’s recordings and suggests scenes from the natural world. The spectrograms form an abstract landscape, an interpretation of the various global locations and times of day that Krause made the original recordings in a way that envelops the audience and encourages them to linger in the space.

Dromos

Dromos is a metaphoric AV Performance that takes its concept from the philosophical work of P. Virilo who is mostly known for founding the idea of Dromology (science of speed). Dromos invites audience to a criticism experience of the ’peed’ role that impacts all aspects of our daily lives. During 40mns, it focuses people attention on this essential factor that shapes our world. With its message, Dromos invites you to wonder about your relationship with progress. It’s an unconventional work with an original sensorial approach, placing the audience inside an immersive environment.

PARADISE – A contemporary interpretation of The Garden of Earthly Delights

Lo Studio Smack, meglio conosciuto per il video musicale Witch Doctor di De Staat, ha rilasciato una nuova animazione: un’interpretazione contemporanea di uno dei dipinti più famosi del primo maestro olandese Hieronymus Bosch, The Garden of Earthly Delights. Nel loro ultimo lavoro, il gruppo ha ripulito il paesaggio originale del pannello centrale del dipinto di Bosch e lo ha ricostruito in un’allucinante animazione 4K. Le creature che popolano questo parco giochi al coperto incarnano gli eccessi e i desideri della civiltà occidentale del XXI secolo. Consumismo, egoismo, evasione, richiamo dell’erotismo, vanità e decadenza. Tutti i personaggi sono metafore per la nostra società in cui i solitari sciamano nel loro mondo dei sogni digitale. Sono riflessi simbolici dell’ego e dell’immaginazione delle persone come si vedono, a differenza della versione di Bosch, in cui tutti gli individui sembrano più o meno uguali. Da un Hello Kitty arrapato a un serpente del pene che caccia alla coca Da uno spybot incarnato a polli fritti senza testa. Questi personaggi, una volta figure di sogno dipinte con precisione, sono ora modelli 3D creati digitalmente. A tutti loro è stato dato il proprio ciclo di animazione per vagare nel paesaggio. Inserendoli tutti insieme in questo affresco sintetico, il quadro non è mai lo stesso. Ciò che l’animazione e il trittico di Bosch hanno in comune è che difficilmente riuscirai a sopportare tutto, puoi guardarlo per ore. “Paradise” è stato commissionato dal Museo MOTI nei Paesi Bassi per la mostra New Delights, che fa parte del 500 ° anniversario di Hieronymus Bosch. Una gigantesca installazione video di quest’opera è esposta nel Museo fino al 31 dicembre 2016.

Perigos
Longe do espetáculo da disciplina, Chloé Moglia transformou o trapézio em uma experiência espacial de suspensão. Uma revolução que envolve a reinvenção perpétua dos aparelhos, mas não apaga a dificuldade técnica e física. Chloé Moglia parece ter uma relação ambígua com seu aparato original: o trapézio. Uma relação de amor e ódio transcendida pela questão da suspensão. Para Aléas, o aparelho tem a forma de uma longa corda de aço com trinta metros de comprimento. As três fases do Aleas foram criadas entre junho de 2013 e fevereiro de 2015: Aléa # 1 La Ligne com Chloé Moglia, Aléa # 2 Suspensives com cinco trapezistas e Aléa # 3 Tracé com Chloé Moglia novamente. Em jogo: a intensidade, a violência, a experiência física, os códigos e outros limites da arte da suspensão para um espectáculo tripartido que fala da nossa fragilidade, da nossa condição humana.

Jardín de Russolo
“Jardín de Russolo” es una instalación de sonido interactiva de Yuri Suzuki que permite a los visitantes tener una experiencia sonora utilizando su propia voz. La instalación auditiva, que se muestra en el V&A durante el festival de diseño de Londres de 2013, se basa en la serie anterior de “máquinas de ruido blanco” de trabajo activadas por sonido de Suzuki. Influenciada por el pintor y compositor futurista Luigi Russolo, uno de los primeros compositores experimentales, la serie de cajas de madera con forma de fonógrafo componen la exposición, reinterpretando las entradas de audio en una salida atmosférica amortiguada, retorciendo y amplificando las bandas sonoras originales.

توماس هيرشهورن
托马斯·赫塞豪恩
תומס הירשהורן
トーマス·ヒルシュホルン
abschlag

Thomas Hirschhorn’s “Abschlag” installation, which occupies the first room on the main floor, offers a lesson in how not to engage with the Russian milieu: the Swiss artist constructed part of a typical Petersburg apartment block out of cardboard inside the full-height space, ripped off its façade, and deposited the refuse at its base, revealing shabby interiors lined with original avant-garde masterpieces (on loan from the nearby Russian Museum) by the likes of Malevich and El Lissitky. The references allude to a politically radical Russian past; the construction debris acts as a metaphor for history. Though Hirschhorn suggests a recovery of the revolutionary communist spirit of the 1920s, he falls prey to a historically revisionist fetish: citing the Russian avant-garde as a generative point for vanguard culture in the West, and offering it as a source for renewed progressivism in Russia. Hirschhorn seems woefully unaware of the Putin government’s branding campaign, one that aims to sell the Russian avant-guard as a nationalist movement in line with the regime’s own values (perhaps he didn’t watch the Sochi opening ceremony). Hirschhorn ultimately proves Zhilayev right — with its political pretenses, “Abschlag” aspires to make a grand gesture against conservatism, but fails because its critique has already been co-opted..
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Ирина Нахова
Pilot’s head
L’exposition russe présente une œuvre ambitieuse, intitulée «Le pavillon vert», à travers laquelle Irina Nakhova (née en 1955) interagit avec l’architecture du pavillon, conçu en 1913 par Aleksey Shchusev, également auteur du mausolée de Lénine à Moscou. à partir des «installations totales» d’Ilya Kabakov, et en poussant plus loin le concept exprimé dans ses propres installations «Rooms» des années 1980, Nakhova a mis en place cinq espaces, où une interaction complexe entre l’art, l’architecture et la perception du spectateur se développe de manière surprenante , exploitant ainsi le concept original de Shchusev, qui n’a pas conçu le pavillon comme un simple conteneur, mais comme un soutien actif à la créativité des artistes.

让汤格利
ז’אן טינגלי
ジャン·ティンゲリー
장 팅겔리
Жан Тингели
Le Cyclop
jean tinguely and niki de saint phalle
Aux premiers abords, cette masse perdue dans la forêt de Fontainebleau m’a laissé assez sceptique. Je ne la trouvais pas forcément esthétique et elle n’a pas retenu mon attention. Et pourtant… Plus la vidéo avançait, plus cette installation permanente m’intriguait. Il faut préciser que c’est une oeuvre bruyante (grincements, roulements répétés de boules, mécanismes…) et qui interpelle le spectateur/visiteur par tous ses sens, il observe, touche, entend, sent, il est présent et peut participer. Le spectateur est donc acteur et c’est une caractéristique essentielle dans l’oeuvre.
C’est l’oeuvre de Jean Tinguely mais qui existe telle qu’elle est grâce à la contribution de plusieurs artistes comme Klein, Arman, César, Soto, Weber… Le Cyclop se parcourt à l’extérieur mais aussi par l’intérieur où plusieurs salles sont dédiées aux oeuvres des divers artistes souvent sculpteurs. Le visiteur est au coeur de la structure, constate et se questionne. La créature, qui est recouverte de milliers d’éclats de miroirs, contraste totalement avec l’environnement qui l’entoure. On a une construction plutôt moderne placé dans un paysage réel et vivant, ce qui fait ressortir l’oeuvre et lui donne toute son originalité. Cela m’intéresserait de me balader dans le bois-des-Pauvres et d’y trouver une création aussi riche et complète. J’ai l’espoir et l’envie de la voir et de pouvoir la parcourir par moi-même, un jour, peut être…

The Atlas Group

In the late 1990s Raad created a fictional foundation called The Atlas Group in order to accommodate and contextualise his growing output of works documenting the Lebanese Civil Wars, generally dated 1975–1990. Within Atlas Group Raad produces artworks, addressing the infrastructural, societal, and psychic devastation wrought by the wars, which he then re-dates and attributes to an array of invented figures who in turn are said to have donated these works directly or by proxy to The Atlas Group archive. Regardless of original medium of the documents, Raad processes and outputs all of his work digitally consciously adding another layer of documentary intervention to his overarching fictional conceit.

Soft as Snow

Soft as Snow, auch bekannt als Oda Egjar Starheim und Øystein Monsen, Norwegens beste Anbieter von ungewöhnlichem, kristallinem Pop, sind mit einer brandneuen Veröffentlichung zurück. Die 4-Track-EP “Chrysalis” ist die zweite Originalveröffentlichung des Duos nach ihrem Debüt 2014 – die EP “Glass Body”, die auch als “Glass Body Remixed” veröffentlicht wurde, eine beeindruckende Sammlung überarbeiteter Versionen von Lucy, Gabe Gurnsey von Factory Floor, Maria Minerva und Brian DeGraw von Gang Gang Dance: „Chrysalis ist hart, direkt, frei, emotional. Es bringt uns zum Tanzen, Verbinden, Explodieren. “ – Weich wie Schnee Der Anfangstrack „I Adore“ zeichnet sich durch abrasive Synthesizer und schimmernde Beugungen aus, während sich „Fluid“ von glasiger Zurückhaltung zu einem Synth-Freak-Out entwickelt. “Mouth” ist eine bedrohliche Absichtserklärung, alle Stammes-Percussion und Ur-Yelps, die an die beunruhigende Produktion von Mica Levis Soundtrack für “Under The Skin” erinnert. Die EP geht mit dem energiegeladenen, skitternden “Her Blood Is Gold” zu Ende, wobei Odas seltsame, jenseitige Stimme alles zusammenhält.

Accumulation The LED light tunnel expresses the accumulation of time. The composition of the frames concretes continuity and shows the locational context. “Accumulation” has six sequences and each movie has the original theme like “Rise”, “Flow”, Accumulation”, “Dimension”, “Light” and “Overlap”.

Napoleon

Kevin Brownlow’ restoration

Gance embarked on his greatest project, a six-part life of Napoléon. Only the first part was completed, tracing Bonaparte’s early life, through the Revolution, and up to the invasion of Italy, but even this occupied a vast canvas with meticulously recreated historical scenes and scores of characters. The film was full of experimental techniques, combining rapid cutting, hand-held cameras, superimposition of images, and, in wide-screen sequences, shot using a system he called Polyvision needing triple cameras (and projectors), achieved a spectacular panoramic effect, including a finale in which the outer two film panels were tinted blue and red, creating a widescreen image of a French flag. The original version of the film ran for around 6 hours. A shortened version received a triumphant première at the Paris Opéra in April 1927 before a distinguished audience that included the future General de Gaulle. The length was reduced still further for French and European distribution, and it became even shorter when it was shown in America. Napoleon is a silent film directed by Abel Gance, dramatising the youth and early career of Napoleon Bonaparte. Its most complete screening, said to be nine hours long, took place in Paris in 1927 – but this version was subsequently lost. British film-maker Kevin Brownlow saw a version as a schoolboy and subsequently restored the film to close to its original length from various prints. His restoration was first shown in London in 1980 with a score by Carl Davis.

Loop 60 Hz: Transmissions from the Drone Orchestra
A flock of autonomous DJI copters are programmed as aerial dancers and are mounted with specially engineered wireless speakers to broadcast the instruments of the band. Other copters are dressed in elaborate costumes to disguise their form and reflect light across the audience below. Against a score of original compositions and selected tracks from Cale’s seminal career this collaboration with Young imagines the possibilities of the drones as emerging cultural objects. If these technologies are no longer unseen objects overhead, or propelled along classified flight paths but brought into close and intimate relations with us then how might we see them differently. When their transmission fades, when the drones lose their signal and without their protocols for terror and surveillance, do they drop from the sky, do they fall in love or do the drones drift endlessly, forever on loop.

TH-42PH10EK x 5
Five screens were installed by the artist as pendulums that swing continuously. As soon as all five have come to a standstill, they are pulled back into their original positions with the help of cable winches and are made to swing again – triggered by pulling a rip cord, a performative act that cannot take place without human intervention and which involves the exhibition supervisor in the installation. Each cycle, which lasts approximately 45 minutes, ends as soon as all five screens have come to a standstill and no more sound is produced by their movement. The sound is produced by the amplification of the friction to which the joints of the moving pendulum are subjected. Multiplication thus creates five oscillating loops that merge into one another with a time offset.

H²élyos
H²élyos takes you into an imaginary world where unreal monsters coexist. These Titans are looking for a single goal, the light of the god H²élyos. He is the eye of the world. He is the one who sees everything. This project was originally designed as a 360-degree experience for The Immersive Art Festival, devoted to immersive digital design […] It used all the atelier technological power : 140 video-projectors, 50 speakers, 3000 m2 of projection surface.

Terraforming
The video work “terraforming” focusses on the transformation of a natural environment through energy input. The underpinning idea is that of three phase system change. This begins with the stage of equilibrium where a system is in a certain balance and not changing at all. In the next stage an evolving system enters a state of motion and change where it moves away from equilibrium. The third and final stage is the phase of transformation in which the original system becomes something else. The key element in this transformation process is the sun. This process is called terraforming, whereby a hostile environment, i.e. a planet that is too cold, too hot, or has an unbreathable atmosphere, can be altered to make it suitable for human life. Such a process is not merely a futuristic scenario but represents exactly what is happening on Earth at this moment as the process of atmospheric change brought about by increasing CO2 emissions heats up our planet and speeds up the process of climate change.
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Appeel
»Appeel« is a game without rules. It starts with a wall that is covered all over with a signal red adhesive foil. The foil consists of thousands of circular stickers pre-cut in a narrow grid that wait to be pulled off and put in a new order by the visitors. The stickers, and its white negative on the wall, form, similarly to binary coded pixels, ornaments, news and pictures – on the original wall and far beyond: they move to adjoining rooms, onto faces and even leave the city.

The Hive  Kew Gardens

“The proposal involves the idea of ​​’temporary’ in an interesting way. It uses the temporary aspect of the installation to carefully engage with the purpose and short and long-term needs of the land,” said the judges. Originally designed for the Expo 2015 from Milan, The Hive was transferred to Kew Gardens, in central London, for two years, where it was part of an event space. Designed to give visitors a glimpse into the life of working bees, the pavilion was built with 169,300 individual aluminum components equipped with hundreds of LED lights. As the meadow surrounding the structure grows, several species of plants begin to flourish, bringing with them the sounds of real bees that enhance the multi-sensory experience of the pavilion.The aesthetic and symbolic installation represents its namesake, with the aim of showing visitors the importance of protecting the honeybee.

Splendour Lender
In Dutch history people expressed their status by displaying their most beautiful pieces of porcelain in the so called ‘pronkkasten’. This splendour lender is inspired by the ‘pronkkast’ and reflects upon status in modern times. How important is status in times of declining moral standards? In times where financial markets collapse, economies are shrinking and money tend to become a goal in itself? With this project I want to express the real nature of money and tell the true story of status; happiness. The splendour lender brings porcelain to life and shows the original function of  money as a medium to exchange goods and services. By putting a euro coin you’ll experience a joyful moment. After usage the coin will be returned so the circle can go round.

سيدي العربي الشرقاوي
西迪·拉比·切考维
Сиди Ларби Шеркауи
Sutra
artist: Antony Gormley
The 17 Monks performing in Sutra are directly from the original Shaolin Temple, situated near Dengfeng City in the Henan Province of China and established in 495AD by monks originating from India. In 1983 the State Council defined the ShaolinTemple as the key national Buddhist Temple. The monks follow a strict Buddhist doctrine, of which Kung fu & Tai Chi martial arts are an integral part of their daily regime. By visiting the Shaolin Temple in China, and working with the Shaolin Monks over several months, Sidi Larbi follows a life-long interest of exploring the philosophy and faith behind the Shaolin tradition, its relationship with Kung-Fu, and its position within a contemporary context.

Jonattas Poltronieri, Luis Mello, Pedro Venetucci & Rofli Sanches
Phantom Limb

Just like the original box, the installation is a rectangular unit where the user inserts his arm and is urged to move it in different ways. The similarity with the original object disappears as, instead of having a mirror to provide the image that motivates the interaction, there is a screen that mediates the user’s view and the place where his arm actually is. The displayed image of the user’s arm can be reversed, distorted and coloured, among several modifications to simulate in a rich way the strangeness of not having control over a member, and to question whether what is seen is an accurate portrayal of the real body. Although deep and subjective, the topic addressed in this experience is easy and accessible in its interaction, offering various sensory feedbacks to the user. Through it, it is proposed that we experience and reflect upon the disconnection between thought and body, intention and action, sensation and reality.

FILE SAO PAULO 2015

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.

Living Archive

The Living Archive is an experiment between Studio Wayne McGregor and Google Arts and Culture – a tool for choreography powered by machine learning which generates original movement inspired by Wayne’s 25-year archive.

LAMP

Joschi Herczeg and Daniele Kaehr, originally from Switzerland, surprise the world of photography by capturing movement for the fraction of a second that makes up an explosion.To do this, the two friends used very specific pyrotechnic systems and have even create a custom detonator device, connected and synchronized directly to their camera.

Until the Lions
In this partial adaptation of poet Karthika Naïr’s book Until the Lions: Echoes from the Mahabharata, an original reworking of the epic Mahabharata, Khan uses kathak and contemporary dance to tell the tale of Amba, a princess abducted on her wedding day and stripped of her honour, who invokes the gods to seek revenge. In an epic theatrical piece, Khan explores the notion and the physical expression of gender, bringing together some of the stellar artistic team behind his solo DESH: writer Karthika Naïr, visual artist Tim Yip, lighting designer Michael Hulls and dramaturg Ruth Little.

the psychotron installation
Now one of Doug’s stunning installations is available in edition format. The Psychotron Framed – a video piece based on the 12-petal lotus flower symbolising eastern spirituality’s heart chakra – has been harnessed into a purpose-built viewer that can hang on a wall or stand freely on a flat surface. The piece is currently only available by collection from The Outsiders London gallery. Order now and Doug will assemble the materials in two weeks.“For centuries, circular figures containing symmetrical patterns have been used as a tool for meditation,” says Doug of his original Psychotron on display at Bedlam. “The mandala, the yantra and visualisations of the various chakras, all conform to radial design principles that have been refined throughout the ages. Now those principles have been ruthlessly plundered for the creation of The Psychotron.

World of Glory
World of Glory is a 1991 Swedish short film written and directed by Roy Andersson. Its original Swedish title is Härlig är jorden, which means “Lovely is the Earth”, and is the Swedish title of the hymn “Fairest Lord Jesus”. The narrative portrays a man in white make-up who guides the viewer through his life in a bleakly stylised world. The film was Andersson’s critical comeback to cinema, after many years in advertising

Sound City
Suspended from the ceiling by two springs and equipped with an oscillating weight fixed inside its body, a Sound City loudspeaker shakes in a disorderly manner in space. The music it plays reacts directly to the movements as if the musicians were inside the loudspeaker and trying in vain to adapt their playing to the turbulences. The originality of the movements comes from the pulsations and interferences produced by the interaction of two coupled harmonic oscillators (the spring and the pendulum) not having the same natural frequency. The two pneumatic jacks to which the springs are attached control the amplitude of the swings.

True/False
True/False is a kinetic sculpture composed of arrays of circular black metal segments set in mechanical columns. Interlocking and rotating around fluorescent light tubes, the cylinders cover or expose the light to display an endless number of patterns. The transformation of the sculpture is based on the shifting elements and their correlation to each other. As the segments do not move independently, for any of the cylinders on a column to change, the segments affected must work in unison to achieve the command. Reminiscent of devices originally used for calculations, such as Turing machines, the sound originates from the mechanical movement of the moving parts thus making the algorithm audible. The rhythm of »true/false« is captivating as variations in the visual choreography result in distinctive changes in its soundscape. Through the generation of algorithmic patterns and the repetition of endless tasks, »true/false« transforms itself into something more than the sum of its elements to reveal the beauty hidden within a basic algorithm.

Mai Hi Ten Yu
Yamaha artificial intelligence (AI) technology enabled the world-renowned dancer Kaiji Moriyama to control a piano by his movements. The AI adopted in the system can identify a dancer’s movement in real time by analyzing signals from four types of sensors attached to a dancer’s body. This system has an original database that links melody and movements, and, with this database, the AI on the system creates suitable melody data (MIDI) from the dancer’s movements instantly. The system then sends the MIDI data to a Yamaha Disklavier™ player piano, and it is translated into music.

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.