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FILE 2024 – Call for Entries

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!

 

 

 

burning man 2018

temple galaxia
ekpyrôsis
Arthur Mamou Mani, a prominent Architect based in London and runs Mamou Mani Ltd., had the honour of building the Burning Man Temple for the Burning Man Festival 2018. A temple made from completely eco friendly materials, that stands 30 metres high, 60 metres in width, and that will burn on the last day of the festival with hundreds of thousands standing in silence as it burns.
To achieve this, Arthur needed to raise £500k of Angel investment to bring his temple to life and gift it to the world. This meant for the crowdfunding video we had to take a more emotional approach, targeting the Burning Man community and touching people on a personal level to spiritually show the importance of the temple to one another around it.

Soichiro Mihara

三原 聡一郎
The Blank to Overcome
file festival
Part of the ”blank” project that the artist has been creating since 2011, “The Blank to Overcome” utilizes air pumps, power supply control circuitry, water, solution, glycerin, ethanol and electricity to produce bubbles in the air. The theme of ”blanks” denotes a space for an unsolved ”inquiry” through the perspectives for thinking about the post-3.11 present: how the bubbles are always shifting as a giant cluster, almost without mass or structure, and the facing up to this; and the framework since modernity that has prescribed society, and the ”involved” or the ”other”. From this work debate will surely emerge.

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克服するための空白

アーティストが2011年から作成している「ブランク」プロジェクトの一部である「TheBlankto Overcome」は、エアポンプ、電源制御回路、水、溶液、グリセリン、エタノール、電気を利用して空気中に気泡を生成します。 「空白」のテーマは、3.11以降の現在について考えるための視点を通して、未解決の「問い合わせ」のためのスペースを示しています。泡は、ほとんど質量や構造がなく、巨大なクラスターとして常にシフトしており、これに直面しています。 ; そして、社会を規定してきた近代以来の枠組み、そして「関与する」または「その他」。 この仕事から議論が確実に浮かび上がるでしょう。

ポンプ

Caitlin Franzmann

Drawn Together, Held Apart

Caitlin is an artist that is interested in intentional social connection in public spaces. She creates experiences that allow participants to quietly communicate and listen to one another. In the live component of her installation, Caitlin hosts an conversation entitled ‘talking and listening about talking and listening’. ‘Drawn Together, Held Apart’ (2017), a custom made table with inbuilt surface transducer speaker, motion sensor activated LED lighting, proximity speakers and audio. Visitors rest their ears on the glass and listen.

 

COD.ACT

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.

Lu Yang

The Great Adventure of Material World
FILE FESTIVAL

The Great Adventure in Material World/Material World Knight is the most adventurous video game artwork that Lu Yang has created. The Great Adventure in Material World/Material World Knight has combined all the protagonists in Lu Yang’s artworks from the past and created an alliance of these heroes. In this video game, the world can be indefinitely explored by players. It has also incorporated several other elements created in various works from the artist before”. Once players enter the video game, they will transform into knights in this Material World. As protagonists of the alliance of heroes in the Material World, they will explore the Universe, absorb energy, be destroyed and achieve rebirth. They will fight all sorts of emotions, desires and eventually with themselves.

TYREE CALLAHAN

泰里·卡拉汉
טיירי קלהאן
タイリーキャラハン
Тайри Каллахан
Chromatic Typewriter
The little Chromatic Typewriter, a conceptual art piece, is out in the world and the feedback has been great. Although it does not paint, I’ve decided I can at least re-type my artist statement with the thing, so long as I can limit it to a paragraph. It ought to be equally decipherable as any other artist statement I’ve read lately.
I’m super excited about it. The reaction to the piece has been pretty special. It seems to be making a lot of people happy and it has started some great discussions on the translation of art into words and words into art.

Ricardo Barreto & Raquel Fukuda

Chess Auto-Creative (Self-Replicating)
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‘Chess Auto-Creative (CHEAC)’, takes the form of a cube where each face corresponds to an 8 x 8 chessboard. The six chessboards can also be arranged in a line to make them easier to see. There are 16 white pieces and 16 black pieces on each of the chessboards, made up of elements such as: kings, queens, bishops, knights, castles and pawns, each of which moves according to the rules of the game. However, instead of the pieces being arranged as normal, they are first set out in patterns where each element is repeated […]Each time a piece is moved to a new position, symmetrically or asymmetrically, a new variation of proto-chess is produced – in other words, a new game emerges. All games generated in this way are, in principle, variations of proto-chess – including the official chess game itself. This means that ‘Chess Auto-Creative’ is not a variant of the official chess game, but its origin.

FILE SAO PAULO 2019

JF Malouin

Les trois Grâces

file festival
“Les Trois Grâces” is a presence and corporeality simulation in virtual reality. Exposing the underlying power struggle implied within touch, this piece explores the trespassing  of bodily frontiers and territoriality. As a sculpture, its object is not matter, but our relationship to the other.
It offers a troubling experience of intimate proportions.

Daniel Widrig

‘SnP’, 2018, recycled plastic, injection moulded

“Widrig’s art breaks down the boundaries between disciplines; borrowing tools traditionally associated with one industry and using them in other fields, in often unanticipated and exciting ways. Widrig uses computer simulation processes and advanced technologies adopted from the special effects business to create sculptural 3D-printed craftwork—digital designs materialize into intricate sculptures in glass or recycled plastic and furniture pieces with impeccable undulated thin surfaces,” Devid Gualandris

Anicka Yi

In Love with the World
“I wanted to expand on the ideas from Venice, to explore the poetic and philosophical potential of machines. How can humans and machines be companions and kin of one another, not fulfill this master-slave binary of machines or humans as overlords to the other.”Anicka Yi

Denis Villeneuve

Arrival

“Arrival’s narrative plays out in four languages: English, Mandarin, Russian and Heptapod. Though they are not spoken in the film, we learn that Louise is also fluent in Farsi, Sanskrit and Portuguese (and possibly others). The language learning process and the growing translingual bond between Louise and the heptapods forms the film’s narrative arc and the majority of its plot. Thus language, and specifically the mechanics of ←215 | 216→multilingualism, is Arrival’s central theme. Within this context, the ability to communicate across language barriers is an asset, and the flexibility to navigate new linguistic challenges is invaluable. The heptapods are pure science fiction, but serve a powerful metaphorical function. As Emily Alder (2016) writes in The Conversation, “ultimately, Arrival is less about communicating with the aliens than with each other – internationally but also individually […] The film’s message is that difference is not about body shape or colour but language, culture and ways of thinking. It’s not about erasing that difference but communicating through it”. Gemma King

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语言学习过程以及路易丝与七足动物之间越来越多的跨语言联系形成了电影的叙事弧线和大部分情节。 因此,语言,尤其是←215的机制| 216→使用多种语言是到达中心的主题

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Процесс изучения языка и растущая межъязыковая связь между Луизой и гептаподами составляют повествовательную дугу фильма и большую часть его сюжета. Таким образом, язык и, в частности, механика ← 215 | 216 → многоязычие – центральная тема Арривала.

STEVE WILHITE

STEVE WILHITE
R.I.P
dancing baby
GIF (JIF)
graphics interchange format

The inventor of the Gif file has revealed that the world has been mispronouncing his creation.
Steve Wilhite, who invented the Gif file in 1987, told the New York Times that the word is pronounced “jif” not “giff”.
“The Oxford English Dictionary accepts both pronunciations. They are wrong. It is a soft ‘G,’ pronounced ‘jif.’ End of story,” he said.
The internet has reacted strongly to Wilhite’s claim, pointing to a range of evidence from the White House announcing their allegiance via a note on their Tumblr: “Animated GIFs (Hard ‘G’)”, to simple common consensus.
Others have suggested that the hard ‘G’ relates to the acronym that the word springs from, which stands for Graphical Interface Format.
The Gif has enjoyed a surge of success in the last five years thanks to Buzzfeed-style listings of puppies and kittens and ‘live-giffing’, a form of on-the-spot reporting that had its first major outing during the 2012 presidential debates.
Wilhite may be the parent of the Gif, but most agree that the creation has outgrown its creator.
When even the White House is on the other side of the debate, it seems it might be best if Wilhite concedes defeat with grace.

German Ermics

Ombré Glass Chair

“German Ermics is a Latvian designer who has recently presented to the public his splendid Ombré Glass Chair, which embodies the perfect tribute to To Shiro Kuramata and his iconic Glass Chair (1976), considered one of the iconic furniture designers of the 20th century. The keyword of his creation is “simplicity” combined with the transparency and the apparent lightness of the material, the result is an elegant minimal work.Another peculiarity of the chair is that it was manufactured with a new industrial product, the Photobond 100, welded without the use of screws or mounting-reinforcements, thus eliminating any superficiality.” Claudia Fuggetti

DOUG AITKEN

Underwater Pavilions
Underwater Pavilions is artist Doug Aitken’s large-scale installation produced by Parley for the Oceans and presented in partnership with The Museum of Contemporary Art, Los Angeles (MOCA). The work consists of three temporary underwater sculptures, floating beneath the ocean’s surface that swimmers, snorkelers, and scuba divers swim through and experience. Geometric in design, the sculptures create underwater spaces synthesizing art and science as they are constructed with carefully researched materials and will be moored to the ocean floor. Part of each structure is mirrored to reflect the underwater seascape and create a kaleidoscopic observatory for the viewer, while other surfaces are rough and rock-like. The environments created by the sculptures will constantly change with the currents and the time of day, focusing the attention of the viewer on the rhythm of the ocean and its life cycles.

AURÉLIEN BORY

PLEXUS
Aurélien Bory is a Toulouse-based choreographer working at the intersection of dance, circus and visual art. In Plexus, he encloses the Japanese dancer Kaori Ito in a forest of tensioned vertical cables. It’s as if she’s in a transparent cuboid cage. We can see her, but her image is blurred by the shimmer of Arno Veyrat’s lighting as it moves across the cables. Ito strains against these confines, writhing, flailing and hurling herself against the cables. Every sound is hugely amplified, so with her every movement we are assailed by a high-tensile jangling and groaning. At intervals she subjects her environment to furious challenge, racing backwards and forwards within the limited inner space so that the cage rocks on its axis. At other times she positions herself between the cables so that they bear her weight, and hangs there like an exhausted insect, faintly articulating her limbs.

Zilvinas Kempinas

Waves
WAVES is an attempt to return to basic experiences provided by light and sound. The intersecting waves of ligh and sound are creating a multi-layered spectrum, which allows us to experience ourselves and others as different wavelengths: either intertwining or dissolving.

Es Devlin

UK Pavillion
THE POEM PAVILION FEATURES A BREATHTAKING ILLUMINATED ‘MESSAGE TO SPACE’ TO WHICH EACH OF THE EXPO’S ANTICIPATED 25 MILLION VISITORS WILL BE INVITED TO CONTRIBUTE. “THE IDEA DRAWS DIRECTLY ON ONE OF STEPHEN HAWKING’S FINAL PROJECTS, ‘BREAKTHROUGH MESSAGE’, A GLOBAL COMPETITION THAT HAWKING AND HIS COLLEAGUES CONCEIVED IN 2015 INVITING PEOPLE WORLDWIDE TO CONSIDER WHAT MESSAGE WE WOULD COMMUNICATE TO EXPRESS OURSELVES AS A PLANET, SHOULD WE ONE DAY ENCOUNTER OTHER ADVANCED CIVILIZATIONS IN SPACE. WHAT IF THE UK PAVILION AT EXPO 2020 BECOMES A PLACE WHERE VISITORS FROM ALL OVER THE WORLD TAKE PART IN A COLLECTIVE GLOBAL PROJECT THAT SHOWCASES BRITISH EXPERTISE IN A.I. TECHNOLOGIES AND POETRY WHILE TRANSCENDING NATIONAL IDENTITIES?” Es Devlin

Ouchhh

Poetic AI
Ouchhh created an Artificial Intelligence and the t-SNE visualization of the hundreds of books and articles [approx. 20 million lines of text] written by scientists who changed the destiny of the world -and wrote history- were fed to the Recurrent Neural Network during the training. This, later on, was used to generate novel text in the exhibition. 136 projectors shining to be a veritable oneiric experience, the ‘POETIC – AI’ digital installation uses Artificial Intelligence in the visual creation process: the forms, light, and movement are generated by an algorithm that creates a unique and contemplative digital work, an AI dancing in the dark, trying to show us connections we could never see otherwise.

Jonna Kina

Arr. for a Scene

“The sonic force of cinema’s most famous murder scene is investigated.Two foley artists recreate Hitchcock’s shower sequence, deconstructing the associations of aural signifiers, and the synesthetic power of sound. Jonna Kina contextualize this uncanny phenomenon — the “trans-sensory” quality of sound – within both Kina’s oeuvre, as well as other historical and contemporary works inside and outside the realm of art. In Arr. for a Scene (2017), Kina explores the structures and forms of cinematic sound – transforming an iconic image — the horrific shower scene in Alfred Hitchcock’s Psycho (1960) – into the sonic frequencies of quirky, seemingly innocent, domestic objects.” Melissa Ragona

 

quadrature

Credo

A radio telescope scans the skys in search of signs of extraterrestrial life.
The received raw signals serve as input data for a neural network, which was trained on human theories and ideas of aliens. Now it tries desperately to apply this knowledge and to discover possible messages of other civilizations in the noise of the universe. Mysterious noises resound as the artificial intelligence penetrates deeper and deeper into the alien data, where it finally finds the ultimate proof.The sound installation revolves around one of the oldest questions of mankind – one that can never be disproved: Are we alone in the universe?

Maxim Zhestkov

Supernova
Supernova is an experimental 4K art film directed and designed by Maxim Zhestkov and made in Zhestkov. Studio Everything around and inside us was conceived in a huge explosion of a star billions of years ago… and, probably, recycled from other matrices myriad times. In this eternal carousel of matter, particles gather, form complicated structures and then burst into all directions fusing atoms together and producing new elements and points of view, new colours and patterns of perception.

JIACONG YAN

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.

Lera Auerbach

Gogol
“The opera’s three acts are divided into seven scenes which blend fact with liberal amounts of invention. Among other things, Gogol wrestles with his (and Russia’s) demons by night, obsesses over his will and funeral arrangements, gets abused by doctors (‘but I don’t drink alcohol,’ he cries; ‘all the more reason for a leeching,’ they reply), bats away bothersome suitors with disconcertingly large papier-mâché breasts, falls in love with a nymph, and undergoes a literary show trial which culminates in his death.”
By Zwölftöner

Joris Strijbos

DARK ECOLOGY

IsoScope

IsoScope is a kinetic audiovisual outdoor installation, a sensorial experience in which the audience wanders through rotating lights and an ever-changing sonic cloud. This new work by Dutch artist Joris Strijbos consists of multiple robotic wind objects interacting with each other and with their surroundings. Strijbos aimed at creating a human-constructed phenomenon, an abstract entity which, like most natural phenomena, can only be experienced in certain weather conditions. IsoScope can be seen as a proposition for a new kind of machinic and artificial lifeform. IsoScope was commissioned by Sonic Acts for the second Dark Ecology Journey (2015) and realised in collaboration with Jeroen Molenaar, Daan Johan and Erfan Abdi.

MAURICE BOGAERT

Het Wezen van de Stad
For a couple of years now I’ve been developing a series of works that engage, each in different ways, with what I propose to call filmic architecture. In these works, I explore the relationships between scale models, sets, architecture, and the moving image. Starting point is was the question: would it be possible to do a remake of a film, let’s say Ridley Scott Alien, with a set that would allow one to do so in one single shot? How to translate the combination of spaces, montage and shifts in size and angle as we see them in the film into the actual spatiality of a set that would allow one to shoot the film in a single continuity without the cut and paste of montage? This brought me to the idea of the Morphed Set as both a potential plan for a work and an intellectual exercise or figure of thought. Sometimes my works are extremely large “walkthrough INSTALLATIONS” – at other times, they are infinite small scale models and prototypes.
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Lauren Lee McCarthy

SOMEONE
SOMEONE imagines a human version of Amazon Alexa, a smart home intelligence for people in their own homes. For a two month period in 2019, four participants’ homes around the United States were installed with custom-designed smart devices, including cameras, microphones, lights, and other appliances. 205 Hudson Gallery in NYC housed a command center where visitors could peek into the four homes via laptops, watch over them, and remotely control their networked devices. Visitors would hear smart home occupants call out for “Someone”—prompting the visitors to step in as their home automation assistant and respond to their needs. This video installation presents documentation from the initial performance on four screens throughout the space.

TZUSOO

SCHRÖDINGER’S BABY
Schrödinger’s Baby(2019/20), TZUSOO alludes to the popular thought experiment devised by Austrian physicist Erwin Schrödinger in 1935. Schrödinger proposed a scenario in which a cat is locked in a box with an unstable radioactive atom that could potentially begin to emit radiation and release a toxic gas. However, there is no way to say with certainty when or indeed whether this will happen without opening the box. The result is a paradox, with Schrödinger asserting that the cat enters a state of superposition that makes it impossible to say whether it is alive or dead.The South Korean artist translates this famous paradox into the reality of her own life, creating a digital baby in virtual space. Based on her inner grappling with potential motherhood, TZUSOO bought the digital model of a developing embryo, refining it according to her own ideas. She is free to determine the sex, skin colour and other characteristics or to dispense with all specifications so as to avoid stereotyping. In Schrödinger’s Baby, TZUSOO thus discuss core aspects of her work including reflection on gender and origin for which she also draws on her personal experience as a South Korean artist in Europe.

Helene Nymann

MOL
MOL (2018) takes up the ancient technique of memorizing information by placing symbols and signs along a mental path through an imagined house from room to room. Interested in the way technology affects both our sense of and need for memory, Nymann attempts to capture her own active and associative thinking by reconstructing her path through her abandoned childhood home. In the work, she visualizes her past experiences through the placement of anchor objects—which, according to the ancient Greco-Roman method of loci, shape the way we perceive the external world—suggesting that in our increasing reliance on technology to memorize for us, we allow others to form our view of the world.

Jennifer Steinkamp

EON
“I considered the first life forms on Earth and how we came to be as a way to refer to the Natural Sciences. I looked at fossil records of the first multi cellular organisms of the Ediacaran Period, 555 million years ago for inspiration. I was struck by the theory of symbiosis in evolution; our DNA ancestors are the resultant fusion of single cellular organisms and bacteria. The millions of bacteria in our bodies are our foremothers. EON is a speculative fiction, a depiction of early life forms underwater. The Universe was formed 13.7 billion years ago. The Earth is 4.543 billion years old. Cyanobacteria or blue-green algae were the first microbes to create oxygen on Earth via photosynthesis 3.5 billion years ago. First humans 200,000-300,000 years ago.” Jennifer Steinkamp

SAM BUXTON

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.

Sam Twidale & Marija Avramovic

After Party

(AI) infinite simulations

‘After Party’ is an animation about two young girls, Ada and Milica. They find themselves in a strange space where an adult party is happening. With every new simulation their personalities evolve in unpredictable ways: between Childhood and Adolescence, Refined and Savage. Our digital work consists of creating artificial environments in the form of real-time animation using our own custom software, where artificial intelligence characters interact with each other as well as with the virtual world that surrounds them. These pieces are usually inspired by stories or myths found in different cultures.

FILE SAO PAULO 2019

ron arad

رون اراد
阿拉德
רון ארד
ロン·アラッド
론 아라드
РОН АРАД
evocative proposal
For the canadian national holocaust monument competition, Ron Arad Studio teamed up with david adjaye associates to envision an evocative proposal commemorating the events, victims, and survivors of a grave moment in human history. Avoiding the use of direct symbols, the design places 23 sinuous and slender walls parallel to one another, creating a field of canyon-like passageways. Spaced 120 centimeters (47 in) apart, visitors are only able to pass through each crevice in single file. The partitions rise to a height of 14 meters (46 feet), drawing the eye upward toward the framed sky. This isolated journey is complemented by the shared experience of reflecting back on the monument’s significance.

Laura Jade

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

Alex Da Corte

St. Vincent – New York

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New York isn’t New York
Without you, love
So far in a few blocks
To be so low
And if I call you from First Avenue
Where you’re the only motherfucker in the city
Who can handle me

New love
Wasn’t true love
Back to you, love
So much for a home run
With some blue bloods
If I last-strawed you on 8th Avenue
Where you’re the only motherfucker in the city
Who can stand me

I have lost a hero
I have lost a friend
But for you, darling
I’d do it all again
I have lost a hero
I have lost a friend
But for you, darling
I’d do it all again

New York isn’t New York
Without you, love
Too few of our old crew
Left on Astor
So if I trade our ‘hood
For some Hollywood
Where you’re the only motherfucker in the city who would
Only motherfucker in the city who would
Only motherfucker in the city who’d forgive me

I have lost a hero
I have lost a friend
But for you, darling
I’d do it all again
I have lost a hero
I have lost a friend
But for you, darling
I’d do it all again

Ricardo Barreto and Raquel Fukuda

Chess Auto-Creative (Self-Replicating )
‘Chess Auto-Creative (CHEAC)’, takes the form of a cube where each face corresponds to an 8 x 8 chessboard. The six chessboards can also be arranged in a line to make them easier to see. There are 16 white pieces and 16 black pieces on each of the chessboards, made up of elements such as: kings, queens, bishops, knights, castles and pawns, each of which moves according to the rules of the game. However, instead of the pieces being arranged as normal, they are first set out in patterns where each element is repeated […]Each time a piece is moved to a new position, symmetrically or asymmetrically, a new variation of proto-chess is produced – in other words, a new game emerges. All games generated in this way are, in principle, variations of proto-chess – including the official chess game itself. This means that ‘Chess Auto-Creative’ is not a variant of the official chess game, but its origin.

FILE SAO PAULO 2019

FKA TWIGS

water me
The English Tahliah Debrett Barnett, born on January 16, 1988 and a descendant of Jamaicans and Spaniards, began to gain space in the music scene at the age of 17 as a dancer, appearing in music videos by artists such as Jessie J, Ed Sheeran and Kylie Minogue. Using the stage name of Twigs, in 2012 she released ‘EP1’ on the Bandcamp website, an EP with four tracks.
Due to the existence of another artist with the name Twigs, she changed it to FKA twigs. FKA is an abbreviation for the English expression “Formerly Known As”, which in free translation is “formerly known as”.
In August 2013, Twigs released the video for her first single, “Water Me”, on YouTube.[27] The video was directed by Jesse Kanda.

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Milton Glaser

homage
Milton Glaser (June 26, 1929 – June 26, 2020)
R.I.P
“i love new york”
One of Glaser’s most recognizable works is his I Love New York logo. In the mid-1970s, New York City’s crime rate was up and the city was widely perceived to be dangerous and was on the verge of bankruptcy.In 1977, the city hired advertising agency Wells Rich Greene and Milton Glaser to design a logo to increase tourism and boost morale. It was Glaser who came up with the design while sitting in the back of a taxi cab on the way to the meeting.The logo consists of the capital “I” and a red heart, stacked on top of the letters “NY” in American Typewriter typeface, symbolizing New York. His inspiration for the logo was Robert Indiana’s LOVE design, with the four letters stacked on top of each other. “Glaser loved New York so much that he gave his work to the city for free, hoping it would become public property.

Damien Jalet

Skid
Pushing further his exploration of a more intense and intimate relationship of the body to the force of gravity, Damien Jalet created “Skid” (2017) for the Gothenburg Dance Company. The dancers performed for 40 minutes on a 34 degree inclined platform of 40 square meters. Together with dancer Aimilios Arapoglou and other members of the company, they developed an alphabet of new physical possibilities, alternating control and surrendering, of accelerations and slow motions, to be performed alone or with partners.

Thomas Heatherwick

Seed Cathedral
shanghai world expo uk pavilion
The cathedral‘s architecture was an elaboration of Heatherwick’s 2003 work of the Sitooterie II in Essex, United Kingdom. The initial design strategy for the UK Pavilion established three aims to meet the Foreign Commonwealth Office’s key expectation that the pavilion should become one of the five most popular attractions at the Expo, but built using half the budget of other Western nations. The first aim was to design a pavilion whose architecture was a direct manifestation of what it was exhibiting. The second idea was to ensure a significant area of open public space around it so visitors could relax and choose either to enter the pavilion building, or see it clearly from a calm, non-queuing vantage point. And thirdly, it would be unique among the hundreds of other competing pavilions, events and programmes.

Antony Gormley

ЭНТОНИ ГОРМЛИ
أنتوني غورملي
葛姆雷
アントニー·ゴームリー
Feeling Material

Gormleyは、Allotment(1995)、Domain Field(2003)、Another Place(1997)、Inside Australia(2003)などの大規模なインスタレーションで、個人とコミュニティの関係を調査してきました。彼の最も有名な作品の1つであるエンジェルオブザノース(1998)は、現代の英国彫刻のランドマークです。フィールド(1991)は、地元の人々によって彫刻された数百または数千の小さな粘土像のインスタレーションであり、4大陸の地域コミュニティを含む世界中のさまざまな場所で制定されました。 「彫刻は、その継続性において、人生への信仰の行為です」とゴームリーはコメントします。 「私たちは皆、このようなことをします。私たちは、人生の継続性を保証する石をポケットに入れています。それは、物事がうまくいき、人生が大丈夫になることを期待することと関係があります。」最近では、Clay and the Collective Body(2009)のギャラリースペースや、ロンドンのトラファルガー広場にある高く評価されているOne&Other(2009)委員会を超えて、市民の積極的な参加への関与が続いています。

Danny Hillis

parallel supercomputer
Connection Machine CM-1(1986) and CM-2 (1987)

The Connection Machine was the first commercial computer designed expressly to work on “artificial intelligence” problems simulating intelligence and life. A massively parallel supercomputer with 65,536 processors, it was the brainchild of Danny Hillis, conceived while he was a doctoral student studying with Marvin Minsky at the MIT Artificial Intelligence Lab. In 1983 Danny founded Thinking Machines Corporation to build the machine, and hired me to lead the packaging design group. Working with industrial design consultants Allen Hawthorne and Gordon Bruce, and mechanical engineer consultant Ted Bilodeau, our goal was to make the machine look like no other machine ever built. I have described that journey in this article, published in 1994 in the DesignIssues journal and republished in 2010 in the book The Designed World.

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Rob Seward

Death Death Death
File Festival
“Death Death Death” is book written by an algorithm. It utilizes a word association study conducted by the University of South Florida between 1976 and 1998. It contains over 10,000 words and their associations to each other. “Death Death Death” traces a path from each word to the word death. The book starts off with the words most closely associated to death. The beginning reads like this: Life – Death Funeral – Death Coffin – Death. Later, it takes several associative leaps to get to death: Enthusiasm – Spirit – Soul – Death Folly – Funny – Sad – Death Bahamas – Paradise – Heaven – Death Waggle – Wiggle – Worm – Maggot – Death. Reading soon becomes humorous, as every line reads like a joke-death is always the punchline. “Death Death Death” is 405 pages, contains an index so you can find any word, and a detailed description of the algorithm. Death Death Death was nominated for the 2010 File Prix Lux in the Digital Languages category.
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Alex Schweder and Ward Shelley

Counterweight project
Tethered to either end of a single rope that goes over the top of this tall thin building, movement in this vertical house for two depends on using the body mass of one’s roommate as a counter weight to aid ascent or slow descent. When one occupant wishes to go up to the kitchen at the top level, the other must go down to the bathroom at the bottom. Between these two rooms are two private sleep / work rooms on levels two and four, and a common room at level three where the ends of the rope meet. Counterweight Roommate was continuously inhabited for five full days of Scope Basel in 2011 by performance-architecture artists Alex Schweder and Ward Shelley, and acquired in 2015 by New York’s Museum of Modern Art.

MOUNIR FATMI

منير فاطمي
Evolution or Death

Fatmi inverts spectacular representations of identity by rendering them mundane and within reach of a subject that may scramble any conclusive narrative. Fatmi’s work counters strategies of interpellation that identifies a subject with an ideology prior to that subject’s ability to place their identity in or beyond a particular ideology. Fatmi parodies the various interpellations of colonialism and capitalism that seek to define others according to symbolic narratives. In Evolution or Death, 2004, (fig. 4) two Anglo-European looking subjects imitate suicide bombers with books and papers taped around their abdomens. One holds open a trenchcoat and another holds up a book that looks like a detonator attached to wires. Fatmi reverses the situation. These are not the suicide-bombers from Arab and Muslim countries. Instead, they appear to be of European descent in a European street or modern room in casual clothing.

Tinguely

Méta-Matics
“Meta-matic drawings vary enormously, entirely according to how the machine is set up and used. No two drawings are ever completely identical. How close the felt-pen, or whatever is being used, is fixed to the paper, is an important factor, but the fluidity or otherwise of of the colouring agent, or the texture of the paper, will also play a part. The operator can use pencil, ballpoint, airmail stamps, invisible ink . . . The decisive thing is how long the machine is allowed to run without interference, and how long with each separate colour. But however it is set up, it is impossible for the machine to produce an ugly drawing”. Hultén

video

MANUEL ARCHAIN

square portraits
Manuel Archain was born in Buenos Aires, Argentina, in 1983. He stareted his studies when he was 5, sculpture, drawing and painting at his mother’s studio, the artist Silvina Viaggio. At the age of 13 he adds to his drawing studies a comic background, studying with Carlos Pedrazzini. At the same time he starts his work as a photographer in a practical way, working with different professionals. From here he evolves in his art achieving a personal style. At age of 17 he started to work on commercials, movies and video clips in the art department and as a photographer. Has been assistant photographer of Peter Rad, Blinkk, Samuel Bayer, Tony Kaye and Marc Trautmann. Since 2004 he works as a professional photographer for advertising and cinema.

kevin abosch

Yellow lambo
The piece, “YELLOW LAMBO” (2018)[…] is a reference to a half-serious joke in the crypto community about using profits to buy Lamborghinis.“I became familiar with #lambo as a declaration of success-identity, and because I always think in terms of how to distill emotions around value, I wanted to explore that,” Mr. Abosch said. He created another token, called YLAMBO, and turned its address into a physical sculpture in yellow neon. This sculpture then sold for $400,000 at a San Francisco art fair to Michael Jackson, the former chief operating officer of Skype. The meta-weirdness around the purchase of the art is at the heart of the questions Mr. Abosch wants to explore.

Hyuntek Yoon

Hidden Gems
Transforming the mopo oil reserve base, south korean designer hyuntek yoon of nooyoon has created a cultural and recreational cluster on the site. Located in sangam, north west of seoul, the abandoned area was previously filled with waste until the 2002 work cup which saw it turn into an an ecological park, digital media city, and world cup stadium. ‘Hidden gem’ seeks to revitalize the last piece of waste-land for public use. The project is based on the following questions: how can five oil tanks be transform to embed recreational programs and how can multiple activities interrelate and operate with each other?