FILE 2026

Registration is now open for participation in  FILE – Electronic Language International Festival 2026 , one of the most important events dedicated to art and technology. FILE invites Brazilian and international artists , as well as researchers, educators, and creators , to submit original artistic works and educational proposals — lectures, workshops, and training activities — focused on contemporary technological poetics.

Applications are open until February 19, 2026 .

With 26 years of experience , FILE is a non-profit cultural organization dedicated to promoting creation, research, and experimentation in Art and Technology , bringing together artists, scientists, programmers, and thinkers around exhibitions, events, and publications. The selected projects will be part of the FILE 2026 program, scheduled to take place at the FIESP Cultural Center in São Paulo, between August 18 and October 11, 2026,  with the possibility of parallel activities in other Brazilian states.

The call welcomes proposals in a wide variety of languages ​​and formats, intended for indoor or outdoor environments , in which the aesthetic experience emerges from the encounter between interfaces, data, space, and body . FILE 2026 seeks projects that propose new forms of perception, interaction, and critical and poetic reflection , expanding the debate on the aesthetic, cultural, social, and sensory impacts of contemporary technologies.

Access the registration form.

FILE 2026

Augmented and Virtual Reality Festival: brings together immersive practices in simulated three-dimensional environments and expands the perception of reality through the superimposition of digital layers onto physical space.  The works use mobile devices, glasses, and spatial interfaces to insert virtual objects, narratives, and data into the real world or transport the public to sensory and interactive digital universes. These languages ​​challenge the boundaries between the material and the informational, exploring subtle or monumental interventions, creating multidimensionality in the environment. Issues of presence, body, narrative, memory, surveillance, and technological mediation are central, configuring a fertile field of aesthetic and critical investigation into contemporary ways of inhabiting and perceiving space.

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

LED SHOW Festival: a program dedicated to exhibiting digital works specifically designed for the Digital Art Gallery, an LED panel located on the facade of the FIESP building, Avenida Paulista, 1313.  The festival investigates the relationship between moving image, light, architecture, and the city, exploring the expressive potential of luminous devices as an artistic medium. The works dialogue with the three-dimensionality of the facades, the urban scale, and the flows of public space, transforming the building into a narrative and sensory support. By integrating technology, art, and urban context, the LED SHOW proposes immersive visual experiences that reconfigure the perception of collective space and expand the field of contemporary audiovisual art. Download the technical specifications of the LED Show file.

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

FILE 2026 | GENERAL REGULATIONS

فلوريان هيكر
フロリアン·ヘッカー
Sound Installation

Event, Stream, Object

In his installations, live performances and publications, Florian Hecker deals with specific compositional developments of post-war modernity, electroacoustic music as well as other, non-musical disciplines. He dramatizes space, time and self-perception in his sonic works by isolating specific auditory events in their singularity, thus stretching the boundaries of their materialization.
Their objectual autonomy is exposed while simultaneously evoking sensations, memories and associations in an immersive intensity. Some of his works incorporate psycho-acoustic phenomena, disorienting listeners’ spatial perceptions and expanding their conception about sound. Hecker’s most recent recording, Speculative Solution ( Editions Mego, 2011), brings together Hecker’s sonic practice and psychoacoustic experimentation with philosopher Quentin Meillassoux’s concept of ‘hyperchaos’ – the absolute contingency of the laws of nature.
During his residency at MIT, Florian Hecker will research a new sound piece that takes the concept of the “auditory chimera” as point of departure. Originally developed at MIT by Bertrand Delgutte, senior research scientist at the MIT Research Laboratory of Electronics, the concept of the auditory chimera inspires an exploration of the relationship between pitch perception and sound localization. Hecker will create a text and sound piece that incorporates the recordings of material read by students. Using an anechoic chamber he will work with students to explore the experiential nature of psycho-acoustic practice.

Мари Шуинар
Golden Mean

– de profundis – soft virtuosity – state of grace – multiple intelligences conversing – the golden mean – time regained.

The beings performing on stage will appear to have come from a strange yet friendly future; in an absolutely scintillating acuteness of sensory perception, in which the underlying processes are laid bare, they allow us to listen to our senses in a serene and unprecedented way.

The Being is a field of exploration, a crucible of possibilities; here it is on the verge of a thought-provoking and amourous mutation

fragments of RGB

This project experiments with illusion and perception on various levels. The classic LED screen as a medium was simulated and disintegrated by the creation of a pixel-like optic using simple projection rather than the entire image’s being comprised of individual points of light. If one examines the idea of perception more closely, especially individual perception – which differs from individual to individual – then a second consideration arises in regard to “fragments of RGB”.

Drama House
File Festival

“Drama house” is a house when the simple ring at the doorbell can have unpredictable consequences; event, one is stranger then another and in the same time all, what happens with habitants belongs to everyday life. Sometimes these circumstances are a little bit exaggerated. Spectator stands in front of low fence with a door-gate. There are 8 doorbells on it. The act of ringing provokes an action in an apartment window. Based on chance and the choices that viewers make, the project explores the contemporary trends in the construction of a narrative and the interplay between diverse informative sub-layers effected through the impact of digital, non-linear media. It also questions the very process of story telling and at the same time considers the way of audience reading. It investigates the differences of individual and collective perception. In other words, the sequence and choices that each viewer selects reflect his own perspectives and behavioral patterns, thus makes the viewer much more than an active participant. By interacting with the installation the viewer is engaged in the creative process: re-telling the ever-changing story through the utilization of the primary capability of the digitization: reshaping the information. Therefore, each participant walks away with a unique, slightly different vision, each shaped according to his own choices and directions. Interactive media and the digital environment of the DH and its narrative function through a recognizable metaphor that makes access to the information meaningful: a house as a conceptual society model and an apartment as a private space. This reference transforms the objects and stories in the project into the metaphors and reminds us of the art cultural function: as a site of memory of the social collective imagination and as a site of representation and power.

Тило Франк
the phonenix is closer than it appears

Thilo Frank (* 1978) lives and works in Berlin. His installations, sculptures and photo series lead the viewer into situations creating interactive physical dialogues. Physical phenomena and environments of our daily life are interpreted in a new context emphasizing our perception of light, space and motion in a poetic and playful way.

His works ask of a visitor to question one‘s relation to action in space and the consequences of one‘s action – an intimate experience.

The viewer functions as a coproducer of the work, perceiving his or her relational aspect as a instrument of measurement. The cognitive aspect in its work is enacted by the viewer, who through his physical reaction to the work, reflects himself to it. Through his physical interaction – the viewer completes the work.

Through the use of everyday technologies Thilo Frank explores the conventions of sight and movement and their visualization. Examination produces a type of measuring standard through which even seemingly random events are viewed equally. Through his works, an attempt is made to illustrate the optical coefficient and with this to analyse the space.

Spatium

Aesthetics of failure. Disruption of dimension, magnitude and quantity in the timeless gap. Delicacy of destruction. In a void that serves a nonconventional level of perception.

This is the Spatium as a detachment of an interval in a moment of glitch. Superposing architecture with a malfunctioning device to be surrounded with. Spatium defines the possibilities what these spaces can transform into for the audience that is given the opportunity to experience.

(Dis)connection

Viviane da Silva Tavares

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – WORKSHOP
Electronic Language International Festival
 

 (Dis)connection – Brazil

The (Dis)connection workshop is an immersive in-person experience that invites participants to explore the impact of technology on their bodies and perceptions. Using high-quality projections and somatic practices, the workshop encourages conscious digital disconnection, offering tools for a healthier and more balanced relationship with technology.

BIO

Viviane Tavares is a researcher and digital wellness expert, focusing on the intersection of the body, technology, and design. With over 10 years of experience in the technology industry developing digital products, she uses contemporary dance and somatic practices to advocate for conscious disconnection in our hyperconnected world.

UnBoxing the Infinite

WOW Studio by D2D

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – LED SHOW
Electronic Language International Festival

UnBoxing the Infinite – Egypt

The work explores the intersection between reality and hyperreality. As a dancer traverses confined spaces, discovers portals, and creates magical worlds with the audience. Using dynamic motion tracking and live visuals, the performance inspires transformation, creativity, and self-liberation, breaking down boundaries of perception.

BIO

Elena Kauffmann is the founder and creative director of WOW Studio (Egypt), focused on media arts, XR, and AI. She created WOW Zone, an experimental space powered by immersive technologies, and is a co-founder of VR developer UBR. She works as a creative producer, immersive experience designer, and art director. Carolina Assis is a Colombian contemporary dancer based in Egypt. Amr Ali is one of WOW Studio’s lead tech artists.

Natural Intelligence

Brit Bunkley

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Video Art
Electronic Language International Festival

Natural Intelligence – Nova Zelândia

Natural Intelligence is “intelligence created by nature, natural evolutionary mechanisms” as opposed to artificial intelligence. With it, “there is a dynamic movement of natural intelligence that evolves from vague, fuzzy, and unconscious states to more concrete and conscious states, and thus realizing the essence of perception” (Perlovsky and Kozma, 2007). It is beautiful and deeply flawed, but it levels out in the end.

BIO

Bunkley has exhibited at the Museum of New Zealand Te Papa. He participated in the Visions in the Nunnery at the Nunnery/Bows art gallery in London in 2022 and in 2024 at Rencontres Berlin, Haus der Kulturen der Welt, Berlin, and he exhibited in Artweek Gyumri, Armenia. He was the award winner for Best Art | Experimental video/film at the New York City Independent Film Festival 2024 in NYC.

ArtiPerception

Yukang Tao

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Short Films AI
Electronic Language International Festival

ArtiPerception – United States

Based on scientific dogmatism, which assumes itself capable of absolute and supreme knowledge, and even strictly lingers to objectivity, eliminating all delusions of our sensationsBut when we rupture those scientific peculiarities, what is the naive essence underneath physical particles and waves, or scientific approximation?

BIO

Yukang Tao is an interdisciplinary artist who works in the fields of electronic arts, animation, video, and performance. While all of his artwork alludes to the concept of gender and observes the relationship between technology, nature and humanity, it also encompasses themes such as surveillance and self-absorption of society in media

Begins with Chaos

Kenji Kojima

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Video Art
Electronic Language International Festival

Begins with Chaos — Lascaux – United States

The environment is filled with chaotic information. Sensory organs build the world by extracting only certain elements from this chaos—such as visual and auditory data—acting like filters. It is as if the world is constructed using the “key” of a specific sense, decoding a hidden code. All information is recorded in binary form. The artist transforms this binary data into new formats, turning it into artworks. To do so, a one-time-use key was used to encrypt and decrypt the colors within the image data.

BIO

Kenji Kojima was born in Japan and moved to New York in 1980, during the rapid rise of personal computers. He began creating digital art, exploring the connections between perception, cognition, technology, music, and visual art. His works have been exhibited in New York City and at media art festivals around the world.

Ørigin

Ø STUDIO

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Shorts Films AI
Electronic Language International Festival

Ørigin – United States | Taiwan

Ørigin, an AI-generated experimental short film, invites viewers to engage with its open-ended narrative through the innovative use of AI tools. By challenging conventional perceptions of art and storytelling, the film fosters a dynamic, non-linear, and visually captivating exploration of the evolving relationship between humanity, nature, and technology. Directed by Davis Chang (Chin-Hsiang Chang), Ørigin veers away from photorealism and close-ended storytelling, opting instead for symbolism and ambiguity within AI-generated visuals.

BIO

Ø Studio is an award-winning AI creative studio specializing in AI-driven short films and new media art. With a unique blend of experimental visuals and humor, their works, like The HØST, Black Høle, and Ørigin have received international recognition and awards. Based in LA, Ø Studio col laborates globally with artists, exploring the intersection of humanity, nature, and technology.

Recursive Empyrean

DMTPortal

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Shorts Films AI
Electronic Language International Festival

Recursive Empyrean – Canada

Recursive Empyrean merges fractal-based visuals with an original ambient soundtrack, guiding viewers through infinite loops of creation and collapse. Each cos mic structure reflects itself into eternity, unveiling deeper mysteries with every shift in perspective. Radiant geometry and ambient pulses draw awareness beyond time and space, where subtle patterns reveal gentle truths, echoing the hum of cosmic purpose.

BIO

John Dobbie, a Classical Animation graduate from Sheridan College in Canada, has spent over 20 years shaping digital worlds for franchises like Call of Duty and God of War. Now based in New York’s Capital Region with his family, he crafts immersive cosmic-themed works as DMTPORTAL, merging technology, mysticism, and decades of experience to expand perception beyond the ordinary.

Deep Paula

Erika Kassnel-Henneberg

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Shorts Films AI
Electronic Language International Festival

Deep Paula – Germany

An old photograph is “brought to life” by artificial intelligence. What happens when flawed memory gives way to artificial vividness? Today, a perfect, seemingly alive digital self can be created. Will we become eternal puppets wandering the web? Who pulls the strings? And if a lost loved one is replaced by a digital twin, what becomes of grief?

BIO

Erika Kassnel-Henneberg (1973) is a conceptual artist. Her work explores a new humanism in the face of digital complexity. She investigates memory through AI-driven data analysis and questions perception as a construct between reality and fiction.

Music: AI-generated.

Deep Field

Tin&Ed

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Installations
Electronic Language International Festival

Deep Field – United States

An augmented reality experience where visitors draw fantastical plants that instantly bloom into immersive 3D structures within the space. As people contribute their creations, a collective digital landscape begins to take shape. Layers of recordings of endangered, extinct, and elusive species compose a responsive and evolving soundscape, developed by The Listening Planet.

BIO

Tin & Ed are New York-based artists whose work explores the interconnection of life across biological, geological, and cosmic systems. Through speculative world-building, they reveal connections that transcend human time, spatial boundaries, and sensory thresholds. Their practice spans sculpture, immersive and interactive installations, creating environments that invite audiences to shift perspective and inhabit the world beyond the limits of human perception. Technology is not used as spectacle, but as a perceptual tool that makes the invisible felt and the distant intimately present.

Embodied Simulation

‘Embodied Simulation’ is a multiscreen video and sound installation that aims to provoke and nurture strong connections to the global ecosystems of which we are a part. The work combines artificial intelligence with dance and research from neuroscience to create an immersive, embodied experience, extending the viewer’s bodily perception beyond the skin, and into the environment.
The cognitive phenomenon of embodied simulation (an evolved and refined version of ‘mirror neurons’ theory) refers to the way we feel and embody the movement of others, as if they are happening in our own bodies. The brain of an observer unconsciously mirrors the movements of others, all the way through to the planning and simulating execution of the movements in their own body. This can even be seen in situations such as embodying and ‘feeling’ the movement of fabric blowing in the wind. As Vittorio Gallese writes, “By means of a shared neural state realized in two different bodies that nevertheless obey to the same functional rules, the ‘objectual other’ becomes ‘another self’.”

Modern Guru
Modern Guru is a translucent ovoid with four huge digital eyes, floating above a ceremonial ring of LEDs. From his mouth flows a ream of absurdist messages, and in a statement about the true nature of lived experience, a new message is delivered when visitors take a photo of Modern Guru – a missive produced only for those who seek to photograph life rather than live the moment. This immersive new media art installation uses the intersection of art and technology to explore modern paths to happiness through unique interactions with characters along a mystical journey of discovery. Visitors are asked to commit to the path – a tight and winding trail with subtle points of connection along the way – a glowing landscape of oversized, whimsical mountains that chant incantations and blink innocently from digital eyes.
Having communed with the Guru, visitors then weave their way back through this warped and strange world full of illusions and delusions, perceptions and deceptions, all the while bathing in luminescent light; embracing big, gentle forms; and following their own path up the pink tongue staircase to meet the one who oversees the whole fantastic dominion, the Sun God.

The Cage of Time

FILE 2024 | Installations
International Electronic Language Festival
Interactive installation that presents a kinetic instrument object and virtual reality glasses, functioning as a device that animates the illusion of the passage of time in virtual space. In the fabric of existence, time weaves a cage around our ephemeral moments, limiting our perceptions of the past, present and future. By embracing this paradox, we may discover that the cage of time becomes the crucible where the alchemy of experience transforms our understanding of existence.

Bio

Anna Vasof is a multi-award-winning artist who focuses on filmmaking, short videos, and time-based sculptures. VRinMotion is an artistic research project based at St. Pölten University of Applied Sciences in Austria that investigates how features of stop-motion animation and motion capture can be combined with virtual reality to enrich current artistic discourse.

Credits

VRinMotion Team: Franziska Bruckner, Christoph Schmid, Clemens Gürtler, Matthias Husinsky, Christian Munk, Julian Salhofer, Stefan Nebel, Vrääth Öhner.
Concept by: Anna Vasof.

Useless Hands

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Infratonal – Useless Hands – France

When our hands become useless, what will we choose to do with them? We can use AI to visualize the unthinkable, the strangely familiar yet indescribable forms and structures. Generative AI could be used as an amplifier of our ability to explore abstraction and surrealism rather than a simple mirror of our usual perceptions.

Bio

Infratonal is an artistic project led by Louk Amidou, a Paris-based multidisciplinary artist who works at the intersection of digital arts, electronic music and interaction design. He uses algorithms to create hybrid visual and sound pieces which aim to be performed by the human gesture as intangible instruments. He questions the artwork’s nature at the age of AI and the relationship between the artist and the algorithm.

Portraits in Black and Silver
Portraits in Black and Silver is an interactive kinetic artwork that uses BREAKFAST’s custom-engineered Flip-Disc medium. This computer-controlled installation invites you to become a part of its history. As you engage with the piece, it will record a brief clip of your interaction and play it back at a later time, cycling through all of the portraits captured. Flip-Discs are small dime-size circles that can rotate 60 times per second using electromagnets, creating abstract images of black and silver portraits. The artwork challenges your perception of what art can be and pushes the boundaries of traditional mediums.

Keigo Matsumoto, Yohei Yanase, Takuji Narumi & Yuki Ban
FILE FESTIVAL 2018
“Unlimited Corridor ” é um sistema de VR que permite a experiência de percorrer um vasto mundo virtual num espaço físico estreito, manipulando a percepção espacial. Esta obra utiliza uma técnica chamada andar visual-háptico redirecionado que utiliza a incerteza da percepção espacial humana e a interação entre visão e senso háptico.

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“Unlimited Corridor” is a VR system that allows the experience of traversing the space of a vast narrow physical virtual world, manipulating spatial perception. This work uses a technique called redirected visual-haptic spatial walking that utilizes the uncertainty of human perception and the interaction between vision and haptic sense.

Empyrean Passage

Empyrean Passage is reminiscent of both a theoretical black hole and portal into the celestial worlds. Empyrean (notice the pyre in the word) is the final and fiery level of heaven as depicted by Dante- or aether in Aristotle’s cosmology. The form is constructed like a giant hoopskirt and gracefully moves in the wind creating a gossamer lighting effect overhead. While this project is an oculus to the heavens, more focus is usually paid to more terrestrial stars in this neighborhood.The interior of the spiral is designed with aqua and black dashes. The dashed interior creates optical effects with the eyes and at certain times of the day shifts your perception of the sky’s color.This project utilizes extremely “green” electroluminescent lighting. The entire sculpture consumes less electricity than a household nightlight and operates on a photo cell. Special thanks to the City of West Hollywood, Andrew Campbell, Maria Lusia de Herrera, Greg Coons, Glen Bundrick / Luminous Film.

micro | macro
micro | macro transforms Hall E in the MuseumsQuartier into an oversized world of moving images and sounds. In his immersive installation, multimedia artist Ryoji Ikeda creates a field of imagination between quantum physics, empirical experimentation and human perception. In collaboration with nuclear scientists at CERN, Ikeda has translated complex physical theories into a sensory experience. The Planck scale is used by scientists to denote extremely small lengths or time intervals. Concepts like space and time lose their meaning beyond this scale, and contemporary physics has to rely on speculative theories. And on art. Visitors to micro | macro enter a world of data, particles, light and sound that makes the extremes of the universe perceptible to the eye and ear. In the micro world we penetrate the smallest dimensions of the unrepresentable, while in the macro world we take off into cosmic expanses that allow us to experience the infinite space beyond the observable universe. In this maelstrom of data, an acoustic and visual firework bridges the gap between theoretical understanding and sensual perception.

Роман Ермаков
live sculpture

Our perception — the only true reality. Creation as a feeling that generates the image, expressed in the form. Beauty manifesto calling to go beyond that limit imagination. The aesthetics of art can not be reduced to a clear set of building blocks with which you can strengthen or weaken the perception of contrast. Beauty should not be subjected to analysis, that is communication and the call to participate in the transformation of the emotional to the visible.The process of creating — is the alignment of the mosaic, many repetitions of simple and pure elements, which form a collection, harmonious in its incompleteness.

Principles of Motion
For Principles of Motion, UVA uses a rotating LED disc to create an abstract rotating and shifting kinematic landscape that plays with the viewer’s perception of movement and reflects the phenomenon of persistence of vision (sparkler’s trail effect / pov display). By varying the luminosity of the LED, the kinetic landscape moves and gives the viewer a sense of space and time. While observing the abstract rotating patterns and rhythms, the optic nerve of the recipient replicates the effect of an afterimage on the eye.

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.

Nature Morte
Nature Morte focuses on Nauman’s long relationship to his own studio, a variation on his four unique multi-projection videos, Mapping the Studio (2001). Three viewing stations, each consisting of an iPad linked to a wall-sized projection, provide an interactive exploration of the 3D studio space. Only now the artist is absent, and the participant becomes performer as he/she manipulates the large scale video projections on an iPad using touch control. The participant is free to navigate anywhere throughout the space, selecting broad vistas or individual objects. Using a hand-held 3D scanner, Nauman recorded hundreds of images that allow participants to select an object and locate close-up anything found there, and further reorient the image to see an object from above and below, and at times inside-out. The resulting mobility intensifies the experience of the viewer/performer. Presenting a static, but immersive re-creation of his studio space, Nauman’s pieces once again play at the tenuous lines between the body and space, perception and physical material.

Present Shock
Present Shock confronts the viewer with a barrage of statistical clocks representing real-time information about the world—from life-changing global events to the banal trivia of everyday existence—highlighting how the speed and volume of data in the Information Age present new challenges to our limited cognitive apparatus. Many of the statistics presented occur at timescales and spatial horizons that similarly defy our perception or comprehension. Disturbing the inertia of the here and now, they reveal the fluctuating state of dynamic transformation that characterizes life on earth.

Hansel & Gretel
Hansel & Gretel oscille entre architecture et art en explorant la perception de l’espace et le statut de l’espace public dans le contexte d’une surveillance omniprésente. Le titre fait référence au conte de fées des frères Grimm dans lequel un frère et une soeur se perdent dans la forêt – un endroit qui leur est familier. L’entrée de l’installation est une porte latérale discrète à partir de laquelle un étroit tunnel assombrissant guide le visiteur vers la vaste salle d’exercices presque complètement sombre. Des drones vrombissent au-dessus de la tête des visiteurs, suivent et transmettent leurs mouvements sur de grands écrans.

ИВ БЭЙЛИ
ENTASIS DANCE IV
My work is based on the concepts of balance and coordination. The body interests me as a perceiving mechanical structure. I use my own body as a primary tool to create pieces that experiment with equilibrium through physical, mechanical, plastic and conceptual means. My studio practice is rooted in the tradition of the artist engineer. I design and build suspended and pendular constructions that can sustain their own weight and mine as I perform with them. By climbing and inverting on the structures, I challenge my own perception and creative process.

Ascent
Ascent is a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level. The light and the fog create a monumental dynamic space that is participatory, the space that opens up a new dimension and directs the attention toward the bodily sensations in the explicit environment. The viewer is free to approach the work according to its own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.

Light High
The installation LIGHT HIGH is aimed at guiding the perception through targeted acoustic and visual phenomena into border areas in which ambivalent experiences set in and the habitual experience of space is abolished.[…] A mirrored ceiling together with a thin reflecting surface of water on the ground and a grid arrangement of lights are creating the spatial illusion of an infinite vertical space of light and darkness. By traversing a small bridge, the visitor can cautiously discover the immersing endlessness beneath his/her feats and above his/her head.

Squint
file festival
I was inspired by how the sunlight bounces around in our artificial forest.
“Squint” is a kinetic light installation consisting of 49 mirrors that reflect lights in a bright space. The mirrors track and reflect lights on audiences’ face with composed patterns of movements. It extends the generated perception by focusing on how lights pass across our visual senses physically, and combines with our perception of images through flickering. “Squint”, which extracts various daily experiences to an abstraction brings the audience to expand their interpretation of lights and perceived imagination into a non-linear experience.
“Squint” simulates light source and intentionally shines lights on audience’s faces. Bright light is projected in the gallery, a clean bright space.
Everyday people are dynamically moving around in the city. Sunlight reflects and flickers even when it is indirect and hidden behind the artifacts. While we are traveling, we are experiencing motion. We are also experiencing the shift of light intensity, visual patterns and textures. The varieties of light forms inspire the artist to explore the potential of light textures, select and sort out the combined complexity in urban space. The artist turns them into a minimal form of light experience, while maximizing its diversity of perception.

Hibanana Studio
Liu Chang & Miao Jing
FILE SAO PAULO 2017
FILE LED SHOW
“INFINITE” is an audiovisual installation created by New York-based visual artist duo Liu Chang and Miao Jing, in collaboration with sound artist Gan Jian. “INFINITE” explores the connection between time and space, discusses about spatial gravity and its influence to human’s perception. Sound and visual elements are in completely in sync in order to contribute the immersive experience.

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.

Presence and Erasure
Presence and Erasure is a portrait machine that explores the reality of automated facial recognition and how people relate to their self-image, instinctively and emotionally. Within a given spatial domain, the artwork constantly scans for faces in the vicinity and photographs them. When the artwork’s algorithm detects a certain quality within a photograph, this image is temporarily printed at large scale by exposing a photochromic surface to light impulses. Each automated portrait remains for little more than a minute, before gradually dissolving into blankness. RANDOM INTERNATIONAL began to combine transient mark-making with automated portraiture early on in their practice, in 2008. Presence and Erasure marks the latest development in this body of work and assumes a minimal, industrial aesthetic that references their earliest studies on this theme. The physical impact of facial recognition and machine vision is emphasised by the exposure of the printing process itself, contrasted against the aesthetic of the high resolution portraits generated. RANDOM INTERNATIONAL intend this as a counter to the perception of surveillance footage as always being low quality, aiming to create a deeper reflection on the nature of surveillance today as well as the resounding cognitive and emotional dissonances.

EYJAFJALLAJÖKULL
Inspired by the icelandic volcano, which wreaked travel havoc across europe, Joanie Lemercier presents the latest incarnation of its audiovisual mapping project painted directly onto a large wall, a wireframed scenery is slowly revealed by gentle light effects. The audience’s sense are progressively challenged as optical illusions question their perception of space.

CYLINDRE
Dans cette installation étincelante intitulée Volume, l’artiste Leo Villareal a pris une poignée d’étoiles scintillantes et les a ramenées sur terre. La partie cylindrique était suspendue au plafond et contenait plus de 20 000 lampes LED en acier inoxydable réfléchissant et hautement poli, qui créaient un espace tridimensionnel dans lequel la lumière pouvait prendre vie. Les modèles d’éclairage, contrôlés par la conception du code logiciel de Villareal, se déplacent à différentes vitesses, cycles d’allumage et d’extinction et vagues de luminosité et d’obscurité. Selon un critique, « la pièce est un poème d’argile éblouissant qui attire le spectateur dans un espace abstrait profond tout en déformant la perception temporelle et visuelle. » Villareal n’est pas un débutant en matière de sculptures lumineuses étonnantes. Découvrez ce tunnel de spectacle de lumière de 200 pieds qu’il a installé sur l’allée du hall des bâtiments est et ouest de la National Gallery of Art. L’espace entre les installations de Villareal et son public est un facteur important car les spectateurs sont entrelacés avec les lumières qui pulsent tout autour.

Linie II
One second of white rope is traveling through time and space. The white rope is moving at a constant pace along the contours of an imaginary shape, traversing the whole space in several directions and angles. For following that second in the vast space, it requires the viewer to look up while moving his whole head. While passing through long distances as a straight line, it appears to be slow and content. Other passages require quick shifts of direction and the perception changes to fast and sudden movements.

The Decelerator Helmet
The technique of the Decelerator extends the awareness of time and transforms the concept of present in a constructed, artificial state. On a different Level the helmet dramatically visualizes how slowing down under all circumstances causes a loss of actuality and as idea is inconsistent with it´s Environment. Technical enhancement as a tool to give us control about our perception, asks the question how far this influence can go, before we are all lost in how we want to see reality. The Decelerator unintentionally explores how aspects of this shift to a personalized perception could change our view of the world.

Tube
S E T U P is a stage design and lighting design international studio founded by Znamensky Dmitry, Novikov Stepan and Zmunchila Pavel. The studio works in the field between contemporary art, lighting design and programming with a mission to explore the expressive opportunities provided by new digital technologies. S E T U P aims to create installations and multimedia works that can sharpen the physical perception of the environment and help explore more possibilities of image manipulation. Our creative product is high-tech multimedia work, concepts and laser installations. Our studio is open for experiments and is ready to cooperate with various artists to find the right visual interpretations for their work.

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.

ROTOЯ
The Rotor is equipped with a four channel speakersystem and a 360° camera. The artists control the speed of it’s rotation which directly influences the projected video-images as well as the sound-characteristics and the perception of the object itself. Acceleration & deceleration become main parameters, which enables the artists to compose an otherworldly piece that seems to follow it’s own logic. A strange communication between audio, video, object and light establishes itself and seduces the audience. There is the hypnotic movement of the sculpture while inevitable auditory and visual feedback is used as a central aesthetic element: The rotating speakers are amplified by static microphones, provoking complex feedback loops and patterns, that trigger psychoacoustic sensations.

Vertical Migration
Unsettling our perceptions of scale and otherness, Vertical Migration is an intimate encounter with a life form that bears no resemblance to human beings, though we share a planet, an ecosystem, and a future. Because of sea-level rise, humans will also be migrating vertically in the coming centuries, to higher elevations and raised buildings. The siphonophore’s story is our story. Though we can never experience its journey through the pitch-black ocean depths, we can shift our perspective to recognize that we’re connected, that our actions affect each other, and that we share a common fate.

Micro-Utopia
In response to London’s pressing housing crisis Micro-Utopia proposes a shared, immersive and interactive version of a home, where space is born from the finely-tuned sensorial interplay between the body and virtual/physical objects connected to the Internet of Things. A chair invites us to stay with it for a moment; we crawl through a demanding fireplace; our hands are washed in a bowl of digital liquid – the highly speculative model of domesticity explores the architectural implication of co-inhabiting a minimal physical infrastructure within infinitely bespoke virtual worlds. Drawing on radical art practice, interiors in historical painting and contemporary product design, Micro-Utopia is the dream of a house that is nothing, but the parameters of our perception are triggered through the metaphorical dimension of the objects we interact with on a daily basis.

Cloud Face
Humans see figures in clouds: animals, faces and even god. This kind of perception also appears in machine vision. Face-detection algorithms sometimes find faces where there are not any.’Cloud Face’ is a collection of cloud images that are recognized as human faces by a face-detection algorithm. It is a result of machine vision’s error but they often look like faces to human eyes too. Humans, yet, know these are not actual faces. Humans rather imagine faces from the clouds. Here, the error of machines and the imagination of humans meet.

SOL
SOL is a minimalistic environment, leading visitors into the reaches of their perception. The installation builds on loss of control, shifts in awareness and a feeling of dislocation and timelessness. SOL is the third work in an ongoing series of phenomenological environments, after the live performance FEED, 2005 and the installation ZEE, 2008. The all encompassing darkness of SOL is lifted, in intervals and for parts of seconds only, by animated bursts of intensely bright light. Falling back into darkness, visitors experience abundant retinal after-images, that gradually drift away until eventually the next eruption of light is triggered. In the surround sound-scape of SOL, electronic drones mix with swarming field recordings, amidst a sea of infra-bass.