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!

The Body is The House, The House is But Haunted
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Eli Cortiñas’ artistic practice traverses contemporary and historical visual cultures, which she dissects using montage and collage, displacing limiting attributions and creating space for feminist and decolonial narratives. These methods gradually reveal specific patterns which are often inherent in the images themselves. Juxtaposing what seems disparate, drawing parallels and uncovering commonalities, Cortiñas lays bare traditional conventions of representation and identifies surprisingly rigid narrative patterns.

Camminando sul muro
Gli artisti stavano in piedi, camminavano e correvano paralleli al pavimento lungo due pareti adiacenti mentre erano sospesi in speciali cablaggi fissati su cavi a carrelli su binari industriali lungo il soffitto.

БОХЬЮН ЮН
윤보현
To Reverse Yourself

FILE FESTIVAL

My work poses the question: how does reality becomes exquisitely animated by certain social control systems such as politics, mass media, technology, science, and etc. It is my artistic goal to reveal how human beings are fragile and delicate in these social environments. By living in Korea, Japan and the U.S, I have first-hand experience in diverse social systems and have come to view my life experiences as raw material for my research. With my research in mind, my art utilizes the body as the tool for an intensive investigation of the public and private; examining the relationship between how people understand their body and how this understanding represents themselves in the greater context.
Currently, I am curious about human perception developing parallel with the ever-evolving progression of technological world. Thus, I question technology’s relationship to reality and illusion; asking what is reality? My work takes advantage of illusion to explore and answer this question, and often my artistic materials consist of the body and mirrors. I use mirrors for integrating reality and illusion.

Doppelgänger
When one spacecraft embarks on its journey, another is launched at the same time in a parallel reality. Alice, a solitary astronaut, is teleported to a distant planet, and so is her double. When Alice and her ship return, she assumes her mission has failed and she has somehow returned home; but she has, in fact, arrived at a world where everything is the reverse of what she once knew. Doppelgänger presents a nuanced and layered parable that powerfully addresses the slippery notion of objective truth, and the position of the ‘other’ in contemporary society.

Entwurf
Blueprint umfasst die Beziehung und Parallelen zwischen Kunst und Wissenschaft und schafft Kompositionen durch die mathematischen Prinzipien der Logik, die das Leben stützen. UVA untersucht Analogien zwischen DNA und Computercode und hat die Blueprint-Serie entwickelt. Arbeiten, die Genetik und Code als Blaupausen künstlicher und natürlicher Systeme verbinden. Da sich die Arbeit im Laufe der Zeit langsam ändert, schwanken die Muster zwischen verschiedenen Komplexitätsgraden. Blueprint verwendet die Grundkonzepte der Evolution, um ein sich ständig veränderndes Bild zu erstellen. Während Zellen ihre Gene buchstäblich auf ihre angrenzenden anderen übertragen, fließt Farbe wie Farbe über die Leinwand. Blueprint erstellt jede Minute eine einzigartige farbenfrohe Komposition und präsentiert das unbegrenzte Ergebnis, das sich aus einem einzigen Algorithmus ergibt. ein einziges Regelwerk.

Saturation Sampler
Rafael Lozano-Hemmer’s work Saturation Sampler, uses AI computer vision to track onlookers and extract the most saturated color palettes from their bodies and clothes, creating a gridded composition from the footage where viewers catch glimpses of their reflections in the pixelated field. With the widest color gamut available and an unparalleled 160-degree viewing angle, Luma Canvas delivers a unique viewing experience unlike any other. The direct emissive nature of the display’s LEDs creates a visceral and material encounter with Lozano-Hemmer’s interactive work, meaningfully situating his digital work within the physical realm.

Piegato Parallelamente
La monumentale installazione di Phillip K. Smith III Bent Parallel avvolge gli spettatori di luce, continuando il dialogo continuo dell’artista con la teoria del colore, l’ottica, la scala e la tecnologia. Apparendo come due pareti di campi di colore che si intersecano, la struttura a cerniera fonde le superfici per generare una percezione di spostamento e fusione. Crea un terzo piano, privo di materiale, a spessore zero, che mescola i colori adiacenti e sembra estendere i confini fisici dello spazio. L’ambiente che ne risulta appare allo stesso tempo infinito e finito.

NO/Escape
Mallorcan artist Bernardi Roig (b. 1965) installs six sculptural works in unexpected interior and exterior spaces, challenging visitors to rethink the definition of the museum. Roig draws parallels between his and Honoré Daumier’s works, both of which offer poignant social commentary. Roig addresses the existential dualities of entrapment and liberation, blinding and illumination, absence and presence. Typical of the artist’s work are the cruel-looking white plaster figures cast from real people, often cornered or crushed against walls or twisting in pain. By including the element of light—whether a single light bulb, neon tubes, or fluorescent lights—Roig’s work blends minimalist forms with highly charged expressions of anxiety and loneliness.

Earthrise
With our planet positioned at the forefront of the global agenda more than ever before, ‘Earthrise’ explores the splendour of this blue body we call home by circling towards the amalgamated awareness to maintain the grandeur of the turning sphere we traverse along. In parallel to Van Herpen’s drive towards an interconnected approach to fashion, the 19 look collection narrates the circular processes that usher change in our sentient world by weaving a symbiotic thread between artisanal tailoring and organic craftsmanship, derived from the perception of our world as one living and breathing organism.

Mosaic Virus
Mosaic Virus (2018) e Mosaic Virus (2019) sono una serie di opere che raccolgono idee sul capitalismo, il valore e il crollo da diversi punti della storia. Il primo è un pezzo di immagine in movimento a schermo singolo che mostra una griglia di tulipani in continua evoluzione in fiore; la seconda un’installazione video su tre schermi, ognuno dei quali mostra un singolo tulipano. In entrambi i pezzi i tulipani sono controllati dal prezzo del bitcoin, cambiando nel tempo per mostrare come fluttua il mercato e rendendo esplicito questo collegamento. Tulipmania è stato un fenomeno del XVII secolo che ha visto il prezzo dei bulbi di tulipano aumentare e crollare: al culmine andando allo stesso prezzo di una casa di città di Amsterdam prima di scendere al prezzo di una cipolla. È spesso considerato un esempio di uno dei primi casi registrati di una bolla speculativa e si possono fare forti parallelismi con la speculazione in corso sulle criptovalute. C’è un’evidente connessione economica tra i due sistemi – entrambi sono spesso descritti come frenesie instabili – ma per me questa associazione va oltre il modo in cui i prezzi dei due si comportano su un grafico.

تريشا براون
트리샤 브라운
トリシャブラウン
Триши Браун
Walking on the Wall
The performers stood, and walked, and ran parallel to the floor along two adjacent walls while suspended in special harnesses rigged on cables to trolleys on industrial tracks along the ceiling.

PIVOT POINT – ICHIHARA
‘Pivot Point – Ichihara’ is an interactive site-specific installation. Standing on a controller pod you navigate over and through a 3D terrain where gravity seems to have disappeared, you gradually become tele-present in a parallel projected space by exploring a mediated version of the venue, it’s direct surroundings and the Ichihara region. A cinematic journey to a fascinating point cloud realm, precise in details but simultaneously abstract and dreamlike.The kidney shaped interface is covered with capacitive sensors and mounted on a pole, touching this interface right, left, up or down aims the virtual camera accordingly. When you release the navigation pole the virtual camera automatically starts spiralling back to the initial starting point your journey and temporary centre of the universe, the Asohbara Art House.

Betonsturm
Auf den ersten Blick erleben die Besucher feste Formen, die sich auf minimalistische Motive stützen und die stabilen Eigenschaften von Beton unterstreichen. Während des Tragens der HoloLens betreten die Betrachter eine gemischte Realität, die durch reaktionsschnelle Hologramme belebt wird, die die physische Umgebung der Installation erweitern. Mit Concrete Storm erforscht DRIFT die Schicht zwischen den parallelen Welten, wobei die reale und die virtuelle Welt nebeneinander existieren. Die Aufmerksamkeit der Menschen wird nun ständig zwischen diesen beiden Welten aufgeteilt, in denen sie koexistieren. Die Künstler glauben, dass sie durch die Kombination dieser beiden scheinbar getrennten Welten die unbegrenzten Möglichkeiten der unaufhaltsamen Evolution untersuchen können. Concrete Storm erweitert die Grenzen der digitalen Welt, befreit von Bildschirmen und integriert in das Gewebe der physischen Existenz.

高谷史郎
史郎の高谷
ST\LL

Die Wassermatrix (Matrice liquide 3D, auf Französisch) ist eine Robotermaschine, die in Echtzeit Wasserskulpturen erstellt und eine kontinuierliche Entwicklung von Formen und Bildern zum Leben erweckt. Diese Installation schafft vergängliche Skulpturen, die der Betrachter in ständiger Beobachtung und Überraschung festhält, fast eine Metapher des berühmten Flusses Heraklit, in dem „alles fließt, alles sich ändert, nichts übrig bleibt. Tore. Die Idee der 3D-Flüssigmatrix wurde 2001 bei einem Besuch in Lille, der Kulturhauptstadt Europas, geboren, wo Shiro Takatani einen Roboterbrunnenschreiber projizierte, der seine Botschaften übermitteln sollte, indem er eine Reihe flüssiger Buchstaben auf den Teich fallen ließ. Leider existierte die Technologie noch nicht und er musste warten, um einen zuverlässigen technischen Partner mit umfassender Erfahrung im Bau digitaler Wasservorhänge als Lumiartecnia Internacional zu finden. Zwei renommierte Digitalkünstler haben während der Roboterkunstausstellung die Kunstwerke für die Wassermatrix entwickelt: Shiro Takatani und Christian Partos. Shiro Takatanis Kunstwerk schafft eine räumliche Erfahrung, die mehrere Schichten paralleler Tröpfchen erzeugt, die auf magische Weise in der Luft zu schweben scheinen, und für Momente, in denen sie sich aus dem Teich erheben und wieder fallen, in sich unmöglich entwickelnden Kreationen, die der Schwerkraft zu trotzen scheinen. Christian Partos Kunstwerk schafft Sequenzen von Wasserskulpturen, die die Fähigkeit der Wassermatrix zeigen, sofort vergängliche Wasserformen zu erzeugen, die im Teich unten verschwinden, um eine neue zu gebären, und auf diese Weise ein konstant fließendes Video von 3D-Skulpturen zu erstellen, als ob sie es wären waren Fotogramme aus einem Film.

COMPAGNIE NON NOVA
P.P.P.
A artista francesa Philippe Ménard discute sexo e identidade através da fusão do gelo no espetáculo “P.P.P” – Position Parallèle au Plancher, que, traduzindo para o português, quer dizer: posição paralela em palco. Uma instalação composta de três refrigeradores grandes, robôs gigantes, malabares e um teto de gelo, que derrete durante a apresentação, serve de cenário para a performance.

Wandering Mind
Guda Koster è un’artista e fotografo olandese che crea sculture viventi, installazioni montate su più paralleli che poi fotografa. Coi tessuti utilizzati in queste opere, l’artista vuole sottolineare i significati che i nostri abiti trasmettono. Andando oltre alla sua funzione, l’abito divulga un messaggio: “Nella nostra vita quotidiana, comunichiamo identità e posizione sociale principalmente attraverso i nostri vestiti. L’abbigliamento può essere visto come una forma di arte visiva che esprime il modo in cui vediamo noi stessi e il nostro rapporto con il mondo che ci circonda. “

Doppelgänger
Wenn ein Raumschiff seine Reise antritt, wird gleichzeitig ein anderes in einer parallelen Realität gestartet. Alice, eine einsame Astronautin, wird auf einen fernen Planeten teleportiert, ebenso wie ihr Doppelgänger. Als Alice und ihr Schiff zurückkehren, geht sie davon aus, dass ihre Mission gescheitert ist und sie irgendwie nach Hause zurückgekehrt ist. Aber sie ist tatsächlich in einer Welt angekommen, in der alles das Gegenteil von dem ist, was sie einst wusste. Doppelgänger präsentiert ein nuanciertes und vielschichtiges Gleichnis, das den schlüpfrigen Begriff der objektiven Wahrheit und die Position des “Anderen” in der heutigen Gesellschaft kraftvoll anspricht.

Planar Planet
The planetary architects had a penchant for parallel planes. Created in Fractal Lab.

file 2023
Call for Entries

FILE – Electronic Language International Festival – is receiving proposals for authorial works and educational projects (talks and workshops) in Art and Technology, from Brazilian and international artists, who are interested in being part of our 2023 exhibitions. Applications will be open from December 19th to February 15th.This announcement opens the opportunity to participate in the 22nd. Edition of the Electronic Language International Festival, which is scheduled to take place at the FIESP Cultural Center, in São Paulo, from July 5th to August 27th. The selected projects will also be able to collaborate in parallel events in different states of Brazil, to be held in the same year of 2023.

Princess of Parallelograms
What will happen when our imagination itself is externalized in machines? Artificial intelligence constructs its own world-truth that is beyond our sensory perception. Generative Adversarial Networks (GANs) use algorithms to synthesize and generate images in a completely new way. These images have almost uncanny aesthetic characteristics, seeming to emerge from an ocean of data, a kind of pixel soup. Rather as if we were observing the emergence of artificial “thought.” The machine learns to understand the “essence” of a thing, be it an animal, the face of a celebrity or a body of text. It is then able to generate new images of this thing, including faces of celebrities who do not exist, mutant animals, or new texts. Eventually, AI will be capable of instantaneously and dynamically emulating all representations. The era of the optical machine and the capture of reality will then be at an end, supplanted by the era of machines that generate their own reality.

Quantum memories
Quantum Memories is Refik Anadol Studio’s epic scale investigation of the intersection between Google AI Quantum Supremacy experiments, machine learning, and aesthetics of probability. Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. Quantum Memories utilizes the most cutting-edge, Google AI’s publicly available quantum computation research data and algorithms to explore the possibility of a parallel world by processing approximately 200 million nature and landscape images through artificial intelligence. These algorithms allow us to speculate alternative modalities inside the most sophisticated computer available, and create new quantum noise-generated datasets as building blocks of these modalities. The 3D visual piece is accompanied by an audio experience that is also based on quantum noise–generated data, offering an immersive experience that further challenges the notion of mutual exclusivity. The project is both inspired by and a speculation of the Many-Worlds Interpretation in quantum physics – a theory that holds that there are many parallel worlds that exist at the same space and time as our own.

The One-Way Ticket
The One-Way Ticket explores the idea of sending one person on a one-way trip to outer space. Not coming back opens up an exceptional scenario, so far unprecedented in the history of human space travel. The project focuses on the experience of a lone astronaut and responds to research into human factors particular to a one-way mission. In parallel with this research ran a production of props, contraptions and sets made for exploring the scenario through film.
video

Perpetual (Tropical) Sunshine
Perpetual (Tropical) Sunshine is an architectural, climatic and temporal installation. Thanks to a “screen” composed of several hundred infrared light bulbs, Perpetual (Tropical) Sunshine retransmits the journey and intensity of the sun as perceived on the 23rd parallel south, according to information transmitted live by weather stations all around the Tropic of Capricorn. Perpetual (Tropical) Sunshine thereby creates a displaced architectural space, which confronts the visitor with an abstract form of day and endless summer. It represents the increasingly artificial nature of our environment and suggests a form of “static mobility” or “displaced tropicality”.

Concrete Storm
On first impression, visitors experience solid forms, which draw on minimalist motifs and underscore the stable properties of concrete. While wearing the HoloLens, viewers enter a mixed reality, enlivened by responsive holograms that augment the physical environment of the installation. With Concrete Storm, DRIFT explores the layer between the parallel worlds, whereby the real and the virtual worlds co-exist. People’s attention is now constantly divided between these two worlds in which they coexist. The artists believe that combining these two seemingly separate worlds they can study the unlimited possibilities of the unstoppable evolution. Concrete Storm expands the boundaries of the digital world, freed from screens, and integrated into the fabric of physical existence.

Blueprint
Blueprint embraces the relationship and parallels between art and science, creating compositions through the mathematical principles of logic that underpin life. Exploring analogies between DNA and computer code, UVA have created the Blueprint series; works that pair genetics and code as the blueprints of artificial and natural systems. As the work slowly changes over time, patterns fluctuate between varying degrees of complexity. Blueprint uses the basic concepts of evolution to create an ever-transitioning image. With cells literally transferring their genes to their adjoining others, colour flows like paint across the canvas. Drawing up a unique colourful composition every minute, Blueprint presents the unlimited outcome that results from a single algorithm; a single set of rules.

parallel image
This work consists of 2500 magnetic wire cables that connect an emitter (one square meter made of epoxy resin) that consists of a 50 × 50 grid with photo sensors that have their counterparts in the receiver with a grid of bulbs. Thus the sensors detect the light and transmit in parallel each pixel (“image element”) with its corresponding brightness effect to the light bulb in the receiver. Unlike conventional electronic image transmission procedures, “A Parallel Image” uses a technologically transparent procedure, transmitting to the viewer a correspondence between the real world and its transmission.

Light Space Modulator

“This piece of lighting equipment is a device used for demonstrating both plays of light and manifestations of movement. The model consists of a cube-like body or box, 120 x 120 cm in size, with a circular opening (stage opening) at its front side. On the back of the panel, mounted around the opening are a number of yellow, green, blue, rot, and white-toned electric bulbs (approximately 70 illuminating bulbs of 15 watts each, and 5 headlamps of 100 watts). Located inside the body, parallel to its front side, is a second panel; this panel too, bears a circular opening about which are mounted electric lightbulbs of different colors. In accordance with a predetermined plan, individual bulbs glow at different points. They illuminate a continually moving mechanism built of partly translucent, partly transparent, and partly fretted materials, in order to cause the best possible play of shadow formations on the back wall of the closed box”. László Moholy-Nagy

Interference Fit Canyon
“by Maya Alam uses an entropic drawing process to capture the coalescence of solid and fluid states of matter within a single object. The drawing is comprised of contours that delineate a cube with hard edges that appear to be soft from particular vantage points and soft edges that appear to be hard from others. These contours are mapped back onto the cube geometry in a transitional process whereby the legibility of the cube becomes progressively more inscrutable. The drawing process parallels the effects created by the presence of a cubic object within the L.A. River that disrupts the flow of water and accentuates the presence of detritus. A process of continual erosion acts differentially on the object over time, transforming its appearance and performance in relation to water flow”. Marcelyn Gow

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.

Abyss of Light

Abyss of Light is divided into three screens and into three acts, the traditional structure of classic narrative film. In the first act, all the images synchronize to form a single panorama of Bryce Canyon in Utah. In the second, the screens break away from one another into three parallel sequences wherein each projection shows the same one hundred images at different speeds. In the third, all three images synchronize once again to form a single wrapping panorama of Death Valley, California. The work is an ode to the American western, one of my favorite film genres. Despite my admiration, however, my desire is not to imitate westerns. Instead, I set up an abstraction in opposition to the idea of narrative, something that can be seen in all of my work. In Abyss of Light, continuous disruptions of the American landscape document my refusal to see the land as backdrop for man’s heroic conquering of the wild; instead I see it as a foreground, a subject to be contemplated for itself and for which wildness is a state of grace.

蒂姆·霍金森
ティム·ホーキンソン
تيم هاوكينسون
Möbius Ship
The ambitious and imaginative structure of Hawkinson’s sculpture offers an uncanny visual metaphor for Melville’s epic tale, which is often considered the ultimate American novel. Möbius Ship also humorously refers to the mathematical concept of the Möbius Strip. Named after a nineteenth-century astronomer and mathematician, the Möbius Strip is a surface that has only one side, and exists as a continuous curve. Its simple yet complex spatial configuration presents a visual puzzle that parallels Hawkinson’s transformation of the mundane materials into something unexpected.

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.

Эрнесто Клар
Convergenze parallele

Convergenze parallele is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in realtime by a custom software system. The installation reacts to air movements in the exhibition space, allowing the viewer to see and hear the amplified movement of dust particles. “Convergenze parallele” explores the poetic potential of revealing and transforming the imperceptible. The custom software uses a video camera to capture the activity of dust articles passing through the beam of light. It then analyzes the video signal to track the location of individual dust particles, and reveals each particle’s trajectory in the image-processed projection. The physical particles draw traces of their otherwise invisible motion on the digital screen. At random intervals, the software artificially saturates the system by briefly activating the fan-a cloud of dust fills the beam of light and creates dense and stunning patterns of particle trajectories and sound.

File Festival

The lips, the lisp, the slip of the tongue
The video explores voice modelling, voice donation, algorithmic prediction and the incomputable. The work examines in parallel the process of modelling the mouth to the process of modelling the voice, questioning modelling as a scientific/technological technique, by considering it as a means of producing reality, rather than merely an observational tool. What leaks from the model? Can the multiplicity and complexity of the voice be contained in an algorithmic model?
file sp 2019 videoart

Intolerance: Love’s Struggle Throughout the Ages
Regarded as one of the most influential films of the silent era (though it received mixed reviews at the time), the three-and-a-half-hour epic intercuts four parallel storylines, each separated by several centuries: (1) a contemporary melodrama of crime and redemption, (2) a Judean story: Christ‘s mission and death, (3) a French story: the events surrounding the St. Bartholomew’s Day massacre of 1572, and (4) a Babylonian story: the fall of the Babylonian Empire to Persia in 539 BC. Each story had its own distinctive color tint in the original print, but not in the currently available versions.
cinema full

Transmotion
The term transmotion not only depicts the process of change from one state, form, style or place to another, it is also the visionary perceptions of the seasons and the visual scenes of motion in art and literature. In parallel to Iris van Herpen’s drive to visualise the invisible, her quest to question reality and urge to explore the realms of impossibility, the project aims to narrate the process that ushers change, to materialise an unconscious state of meditation.

Jacob’dream: a luminous path
San Francisco-based electronic-media artist Jim Campbell creates work that combines film, light emitting diodes (LEDs) and sculptural elements. His choice of materials is often complex, and he uses them to create imagery that is allusive and open-ended. His exploration of the distinction between the analog world and its digital representation metaphorically parallels the difference between poetic understanding versus the mathematics of data.

All above
Guda Koster is a Dutch artist who creates living sculptures and performances, which the photographs are the results of. Koster’s works are created in parallels of time, space and textile. In her works Koster uses fabrics, colours and patterns that underline the codes and meanings our clothing conveys.

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.

video

compositie met oranje cirkel
Guda Koster is a Dutch artist who creates living sculptures and performances, which the photographs are the results of. Koster’s works are created in parallels of time, space and textile.In her works Koster uses fabrics, colours and patterns that underline the codes and meanings our clothing conveys.

Stormy weather
Guda Koster is a Dutch artist who creates living sculptures and performances, which the photographs are the results of. Koster’s works are created in parallels of time, space, and textile. In her works, Koster uses fabrics, colors, and patterns that underline the codes and meanings our clothing conveys.

マイケル·クラーク·カンパニー
Tate Project Part I ]
The choreography rehearsed and performed in 2010 paired the rigour of classical steps with contemporary movement, a juxtaposition that paralleled Clark’s training as a ballet dancer at the Royal Ballet, and his later anti-hierarchical, anti-authoritarian choreographic experiments. Balletic poses, jumps and steps were isolated from traditional narrative sequences and made strange through repetition. The graceful leaps and turns of the trained dancers seemed awkward and uneven, just as they were often out of sync and oriented in different directions. This choreography paralleled the performance space, which was demarcated by geometric and striped floor mats designed by Charles Atlas, which resembled the large windows at the back of the hall and the black beams that extend vertically from floor to ceiling.

Вадим Штейн
Vadim Stein is an Ukrainian artist resident in St. Petersburg (Russia). He worked as an actor and a lighting designer in the Theater of Plastic Drama and later on decorative sculpture and graphics. Taking photos of his own works he became keen on photography. His photos are able to recreate a parallel universe, to tell a story made of eroticism and mystery through a great mastery of the light and the elegance of bodies.

Cliff Jumper
Unter dem Pseudonym Moto Waganari entwirft Lutz Wagner transparente Gitternetz-Skulpturen, die sich als schwerelose Körperhüllen vor dem Auge des Betrachters abzeichnen. Inszeniert als Lichtinstallationen werden die dreidimensionalen Figuren um ein zweidimensionales Schattenbild erweitert und erhalten ein immaterielles Alter Ego. Seine Wesen visualisieren eine surreale Parallelwelt, die voller Rätsel und Überraschungen steckt. Moto Waganaris raffinierte Kunstwerke bestechen durch formale Schönheit und filigrane Leichtigkeit.

digitalized
“Tron, a cult film from 1982, takes place in two parallel universes: the real and the virtual. Through a laser that converts real people into pixels, the world of Tron appears like a strange foreign world without sun, where androids live surrounded by 3D landscapes. The film has a strong retro character given by the era of production, which coexists with a high-tech nature. Both aspects are the basis of my collection. It consists in androgyn, straight silhouettes out of wool, leather, cotton and lack. Through different techniques I have created cube patterns on the surface of some of the materials. Giving the designs a technical yet minimalist character.”

Дэниел Фирман
丹尼尔·菲尔曼
دانيال فيرمان
Explorant sans cesse le territoire de la sculpture, Daniel Firman met en scène des personnages anonymes et des éléments du quotidien dans des situations à l’équilibre précaire. La société de consommation est évoquée à travers des empilements hétéroclites sur des personnages qui n’ont pour identité que leurs prénoms et dont le visage est systématiquement caché. Oeuvres souvent spectaculaires, ses sculptures se sont allégées avec le temps, parallèlement à son intérêt croissant pour la danse et la gestuelle

Unspoiled by formal computer graphics training, ZEITGUISED have been pushing their own rules onto computer aided art by creating a dense universe parallel to motion graphics, drawing heavily from fashion photography, sculpture, installation and architectural set design.

dream-land No 987
“With ‘Dream-Land’ we have tried to create our own place beyond time and space; a place that blurs the boundaries between digital and physical reality, in which parallel versions of the Museum’s historic objects are free to exist today. The known is replaced with endless narratives that collectively create an unexpected history and unremembered future.”