Bots
FILE 2024 | Installations
International Electronic Language Festival

Bots presents a computer-controlled society through a series of algorithmically controlled humanoid avatars that appear on physical carpets using augmented reality (AR). Real-time performances synthesize human behavioral patterns into a formalized digital social study. Omnipresent, combined with our devices and incorporated into virtual environments, the work reminds us of our own digitalized world, in which we are surrounded by invisible bots.

Bio

Giulia Bowinkel (born 1983) and Friedemann Banz (born 1980) live in Berlin and have worked together under the name Banz & Bowinkel since 2009. In 2007 they graduated from the Art Academy with Albert Oehlen and started making art with computers . His work encompasses computer-generated imagery, animation, augmented reality, virtual realities and installations.

Shell of

FILE 2024 | Installations
International Electronic Language Festival
Marc Vilanova – Cascade – Spain

Waterfalls are a continuous source of infrasonic frequency found in nature. Although inaudible to humans, they play a crucial role in ecosystems, especially for migratory birds who use them as a compass. However, many waterfalls have lost their frequencies due to climate change. The work creates an immersive experience in which the audience interacts with the visualization of sound waves, experiencing the vibration of sound through illuminated strings.

Bio

Marc Vilanova is a sound and visual artist who works at the intersection of art, science and nature. Vilanova’s artistic production has always been led by a spirit of innovation fueled by an interest in new media. His practice combines sound/light installations, performance, and sculpture.

Credits

This work was partially carried out within the scope of the EMAP program at gnration, with the support of the Creative Europe Culture Programme, the Avatar Center in Quebec City and the Ramon Llull Institute.

Photo:
Eloise Coomber

Oracle Collection
The performance centered around ORACLE, a digital palm reading given by model and iconic muse Axelle Doué. The surrounding luminous dresses embodying the four elements— air, earth, water, and fire—come alive during the reading, with mirrors reflecting them into infinity. The pieces are crafted from diverse materials, both natural and synthetic. Well beyond typical textiles, Clara Daguin implements optical fibers, pleating, embroidered circuits, addressable LEDs, sculpted resin, home-grown alum stone crystals, Swarovski Elements, silk organza, microcontrollers and radio frequency modules.

САША ФРОЛОВА
AQUAAEROBIKA
Aquaaerobika is a project synthesizing art-performance and electronic music. Electro-pop, 8bit, disco-house music and futuristic inflatable costumes from latex are mixed in a vivid spectacular pop-art show. Dancers in avant-garde Bauhaus-style costumes with huge inflatable decorations and objects look rather like a live sculptures and turn the whole show in one moving sculpture. Aquaaerobika’s author is Moscow based artist – Sasha Frolova.

Henryk Górecki
Concerto for Harpsichord and String Orchestra Op. 40
Harpsichord: elisabeth chojnacka
Less than nine minutes long, the bipartite Concerto for Harpsichord (or Piano) and String Orchestra, which the composer sometimes called a “prank”, is a veritable volcano that carries the listener away from the very first bars with its immense energy. Its repetitive, motoric nature and rhythmic vigour suit the specific, slightly clattery sound of the harpsichord which is usually somewhat amplified, complemented by the chordal texture of the strings. In both parts, the mood of the piece clearly draws on the highlander music of the southern Podhale region, of which Górecki was a great admirer. In the context of his monumental sacred music from the same period, this Concerto is like the artist’s brief “respite”. It reflects the whirl and “profane” energy of a folk dance.
Elżbieta Chojnacka, to whom the piece was dedicated, has always stressed that every performance of the Concerto, which she has played throughout the world, ends with an encore. The piece meets with such acclaim from the audience, and is one of the most striking – and most joyful – compositions in the composer’s output. “A spectacular plaything”, as Teresa Malecka has described the piece.

Gravitatorische Behauptungen
Aus der transdisziplinären Zusammenarbeit ist die Idee einer ephemeren Installation hervorgegangen, der die Linie als Basiselement zugrunde liegt. In einer Live-Performance kann im Laufe der Ausstellung beobachtet werden, wie künstlerische Inspiration und physikalische Kräfte aufeinandertreffen – und Roboter vom Werkzeug zur «(mit)kreierenden» Maschine mutieren. Künstliche Intelligenzen drängen immer stärker in die unterschiedlichsten Bereiche unseres Lebens. Viele Fragen drehen sich dabei um die Menschlichkeit von Robotern. Was passiert, wenn man die Maschine weiterdenken und weiterführen lässt, was der Mensch initiiert hat? Auch in der Kunst ist die Thematik relevant: Wie lassen sich Roboter in die künstlerische Produktion einbeziehen? Wer oder was bestimmt die Form? Wie geht man um mit der Ungewissheit über die eigentliche Autorschaft? Seit deren Anfang ist der Einsatz von Maschinen in den künstlerischen Prozess zwar einbezogen, ihr Anteil daran jedoch immer wieder auch hinterfragt worden.

Lesson Nº 1 + The Ascension
Glenn Branca has always been a musician positioned halfway between the role of avant-garde composer and that of a rock musician. A pupil and disciple of the masters of American minimalism such as La Monte Young, Terry Riley, Philip Glass and Steve Reich, he has always had to fight against prejudice and fierce criticism. His position was certainly uncomfortable, too academic for rock fans and too “politically incorrect” for academics. In fact, Branca was trying to unhinge all the limits imposed by the rigid schemes of the avant-garde, aware of the fact that those who want to be truly avant-garde should have no limits. John Cage was also able to criticize him, even calling him a fascist ( Luciano Berio also did so for all minimalists) for the excessive rigidity of his compositions, even though he recognized his innovative power. After having created his best known album, The Ascension (1981), a true monument of maximalism played with a classical rock formation (guitars, bass and drums), he tries to approach a different format, the Symphony, as always halfway between rock and academia. Branca will like the experiment and will re-propose it several times in the following decades, to date there are sixteen symphonies (not all recordings are available). Here is how young Branca’s ensemble appeared to the American composer John Adams in one of his first live performances of the First Symphony: “Branca’s event that I listened to at the Japan Center Theater in San Francisco in 1981 was one of his symphonies for guitar . The group didn’t look very different from thousands of other independent or alternative rock bands of the time: guys in jeans and worn t-shirts busy with cables while maintaining that typical distracted expression of rock musicians.

Gaitkeeper
“Just be yourself, and nobody else”. Our motions, as distinctive as our faces, will soon be captured and interned. Gaitkeeper is a biometric control suite designed to counter the challenge of ‘Locomotive Camouflage’. LoCam, which combines the physical control of dance with the unpredictability of performance art, is rapidly being adopted by civic insurgents. Gaitkeeper units, based on the off-the-shelf Kiva chassis, are now being deployed as standard counter measures.

“Gustave Le Gray No. 1”
In 2019, Ballet Across America was put together with the inspiration of women’s leadership in ballet and dance. To mark the celebration, the Center commissioned choreographer Pam Tanowitz to create a world premiere work for the week’s two participating companies, Dance Theatre of Harlem and Miami City Ballet; both are companies led by visionary women – Virginia Johnson at DTH and Lourdes Lopez in Miami.
Tanowitz set the work on two dancers from each company, with a pianist on stage playing a solo work by the composer Caroline Shaw. The piece had its world premiere during Ballet Across America on May 31, 2019. This video captures the premiere performance.
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Pianist: Sylvia Jung
Dancers: Renan Cerdeiro, Lauren Fadeley, Anthony Santos and Stephanie Rae Williams

Ultimate Vatos
Les vidéos, performances, installations et photographies de Sara Sadik prennent la forme de mangas, de jeux vidéo, de docu-fictions ainsi que de films d’animation CGI. Ce faisant, l’artiste aux racines maroco-algériennes explore les manifestations de ce qu’elle appelle « Beurcore« – la culture des jeunes qui a émergé parmi les membres de la classe ouvrière de la diaspora nord-africaine. Beurcore définit à la fois une identité hybride et un mouvement collectif constitué à travers la musique comme le rap et le hip-hop, la langue, la mode, des symboles spécifiques et les médias sociaux.

Re)Evolution

With the machine programed to draw, the robot becomes a medium for interaction and for “symbiosis” with the artist, creating a kind of “hybrid body” of man and machine, whose nervous system and brain waves administer “software commands” to the robot during the drawing performance. A key actor in the exhibition will be the new model of the KUKA KR 210 robot, that has a multi-functioning performative role: from drawing, experimental dance, music – through the production of industrial sound, and a six channel video projection that documents Ilić’s projects.

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

Mit 3D-CG in Spielfilmqualität und Motion Capture improvisierter Performance kreiert Marjan Moghaddam seit 2008 filmische und fantastische virtuelle Welten, die von ihren charakteristischen digitalen Körpern bevölkert werden. Diese Körper sind manchmal maschinell, organisch, hybrid oder energiebasiert, als unterbrochene und diskontinuierliche Figuren, die unser hybrides virtuelles und physisches Leben repräsentieren. Diese Szenen und Figuren ähneln filmischen Gemälden mit Videospiel-Ästhetik und Spezialeffekten für das postdigitale Zeitalter.

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
БОБ УИЛСОН
Arvo Pärt
Adam’s Passion
Estonian Arvo Pärt is one of the three most performed contemporary composers worldwide. His music has been described as contemplative, sacred, and timeless. “Time for us is the time of our own lives. It is temporary. What is timeless is the time of eternal life. Like the sun, we cannot look at these two directly, but my intuition tells me that the human soul is connected to both of them—time and eternity,” says Pärt. Much like Robert Wilson’s own universe, where time and space are the basic architecture of everything, it is as if these two artists have been waiting to collaborate with one another! ADAM’S PASSION will be a journey into the worlds of sound, light, visual art and performance. It will celebrate Arvo Pärt’s 80th birthday—all in a spectacular venue, the Noblessner Foundry, a vast, old industrial building by Tallinn’s harbo

高谷史郎
史郎の高谷
La chambre claire
La Chambre Claire (or Camera Lucida) is a show built up from precise, symmetrical movements, inviting spectators to embark on a thought-provoking journey into their most intimate and personal territory. In this, his first solo work as creative artist and director, Shiro Takatani pays homage to the French writer Roland Barthes and his essay on photography, La chambre claire (1980). The result is a performance that blends theatre, the art of movement and installation to compose a great fresco full of subtle, elegant minimalist images that advance towards an aesthetic climax. Reflecting on photography and memory, the production invites us to embark upon an intimate, solitary journey to look inside ourselves and formulate a personal interpretation of what we see.
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La Chambre Claire (oder Camera Lucida) ist eine Show, die aus präzisen, symmetrischen Bewegungen aufgebaut ist und die Zuschauer zu einer zum Nachdenken anregenden Reise in ihr intimstes und persönlichstes Gebiet einlädt. In seiner ersten Soloarbeit als kreativer Künstler und Regisseur huldigt Shiro Takatani dem französischen Schriftsteller Roland Barthes und seinem Aufsatz über Fotografie, La chambre claire (1980). Das Ergebnis ist eine Performance, die Theater, Bewegungskunst und Installation miteinander verbindet, um ein großartiges Fresko voller subtiler, eleganter minimalistischer Bilder zu komponieren, die sich einem ästhetischen Höhepunkt nähern. Die Produktion reflektiert Fotografie und Erinnerung und lädt uns ein, eine intime, einsame Reise zu unternehmen, um in uns selbst zu schauen und eine persönliche Interpretation dessen zu formulieren, was wir sehen.
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La Chambre Claire（またはCamera Lucida）は、正確で対称的な動きから構築されたショーであり、観客を招待して、最も親密で個人的な領域への示唆に富む旅に出ます。この中で、クリエイティブアーティスト兼ディレクターとしての彼の最初のソロ作品である高谷史郎は、フランスの作家ロラン・バルトと彼の写真に関するエッセイ、ラ・シャンブル・クレア（1980）に敬意を表しています。その結果、劇場、動きの芸術、インスタレーションを融合させて、美的クライマックスに向けて前進する繊細でエレガントなミニマリストのイメージに満ちた素晴らしいフレスコ画を構成するパフォーマンスが生まれました。写真と記憶を反映して、この作品は私たちを親密で孤独な旅に乗り出し、自分自身の内部を見て、私たちが見ているものの個人的な解釈を定式化するように誘います。

Paradoxal Sleep
File Festival
O projeto “Paradoxal Sleep” integra uma série de obras na qual grandes cubos robotizados, medindo 2,25 m3, funcionam como estruturas flutuantes usadas como plataformas para vários projetos multimídia e performances. No FILE 2012, a equipe da NXI GESTATIO apresentará um único cubo que irá se mover nos espaços expositivos. O cubo reajustará constantemente sua posição medindo a distância entre as paredes ao redor.

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The “Paradoxal Sleep” project integrates a series of works in which large robotic cubes, measuring 2.25 m3, function as floating structures used as platforms for various multimedia projects and performances. At FILE 2012, the NXI GESTATIO team will present a single cube that will move in the exhibition spaces. The cube will constantly readjust its position by measuring the distance between the surrounding walls.

Serendiptichord

The result of a cross-disciplinary investigation spanning fashion, technology, music and dance, the Serendiptichord is a wearable musical instrument that invites the user (or movician) to explore a soundscape through touch and movement. This curious device is housed in a bespoke box and viewed as part of a performance. Unpacked and explored on and around the body, the Serendiptichord only reveals its full potential through the intrepid curiosity of its wearer. Adhering to the body like an extended limb, this instrument is best described as choreophonic prosthetic. Referencing the architectural silhouette of a musical instrument and the soft fabrication of fashion and upholstery, it is designed to entice the movician to explore its surface through touch, physical manipulation and expressive movement. Although this acoustic device can be mastered alone, it also holds subtle openings for group interaction.

Zeichenvorgänge
Sougwen Chung ist eine international bekannte multidisziplinäre Künstlerin, die handgezeichnete und computergenerierte Markierungen verwendet, um die Nähe zwischen der Kommunikation von Person zu Person und der Kommunikation von Person zu Maschine zu untersuchen. Sie ist eine ehemalige Forscherin am MIT Media Lab und derzeit Artist in Resident bei Bell Labs und dem New Museum of Contemporary Art in New York. Ihre spekulative kritische Praxis umfasst Installation, Skulptur, Standbild, Zeichnung und Performance. Drawing Operations Unit: Generation 1 ist die erste Stufe einer laufenden Studie über die Interaktion zwischen Mensch und Roboter als künstlerische Zusammenarbeit.

ألكسندر سوكوروف
亚历山大·索科洛夫
Александр Сокуров
Russian Ark

“Alexander Sokurov’s desire to film The Russian Arch in one continuous take required extraordinary technical solutions. Since it is physically impossible to shoot more than twelve minutes of conventional film, we had to shoot on video. However, it was only the relatively recent arrival of 24p high definition compact cameras that offered the visual quality and the ability to make this film for theaters, including transferring the digital image to a 35mm negative.With the help of German specialists a complex portable platform was designed to meet the demands of the scenario which included precise architectural plans, highlighting the distance of 1300 meters covered by the course of the action. It was decided that the only way to move the camera would be to use a steadycam, although we could not be sure until after the final image that such a long steadycam shot would be possible, given the physical performance. extreme demanded from the German cinematographer, Tilman Büttner. After months of rehearsals, the 867 actors and extras, the three “live” orchestras all had to know their position and precise roles “. It’s just amazing.

cinema full

Inextinguishable fire
The title of the piece references Harun Farocki’s 1969 film of the same name, which approaches the impossible task of effectively depicting the horror of napalm on film. Cassils’s gesture of self-immolation speaks to both the desire for–and the impossibility of–knowing such horror, even while decisively aiming to approach it. Though the stunt is a simulation of violence, it still presents real danger. This possibly volatile situation–and the attempt to control it–is captured to create an image where danger, empathy for those experiencing violence, and the privilege of removal from such circumstance operate simultaneously in one transparent performance.

Voices of Aliveness
This project, upon the initiative of l’Ecole des Beaux-Arts de Nantes, has been conceived as a meta-monument where are gathered video sequences recorded by a camera with GPS. People are screaming while biking in a 500 m circle in the countryside. The traces of this route can be visualized thanks to lines that form a sort of tower in the virtual space, where it can go on indefinitely. On these lines, in an order that looks more like a music score than a succession of shootings, mobile video screens simultaneously display the image of the performances.

SPARK
Organic fireworks SPARK illuminates the city as a new sustainable celebration. Artist Daan Roosegaarde became inspired by the magical light of fireflies, and the desire to update the ritual of fireworks. The result is SPARK, a poetic performance of thousands of biodegradable light sparks which organically float through the air. SPARK inspires visitors to wonder and reflect.

愫君
Drawing Operations
Sougwen Chung is an internationally renowned multidisciplinary artist, who uses hand-draw and computer-generated marks to address the closeness between person-to-person and person-to- machine communication. She is a former researcher at MIT Media Lab and current Artist in Resident at Bell Labs and New Museum of Contemporary Art in New York. Her speculative critical practice spans installation, sculpture, still image, drawing, and performance. Drawing Operations Unit: Generation 1 is the 1st stage of an ongoing study of human and robotic interaction as an artistic collaboration.

Hills beyond a river
Music: “CHINA-瓷” by Mickey Zhang
file festival
“Hibanana Studio is a creative art&tech studio, swinging at the intersection of audio-visual performance & installation, moving images and interactive installations. We are inventing new forms of the moving image for display surfaces of the future. A series of interdisciplinary research and practices range from video, sound, light, interaction and spatial experience leads us to artworks, commissions, and exhibition.”

루이 필립 멀스
Луи-Филипп Демерс
Inferno
“Inferno” est un projet de performance robotique inspiré par la représentation des différents “niveaux de l’enfer”, la particularité de ce projet réside dans le fait que les différentes machines faisant partie du spectacle seront installées sur le corps même des spectateurs.

Horizon
O limbo está no centro da arte de Chloé Moglia. Seja como integrante da Compagnie Rhizome, solo ou em produções conjuntas, a artista está sempre preocupada com a leveza. Em suas performances, que combinam força física e poesia, ela derrota as leis da gravidade e o medo das alturas. Além disso, ocorrem reflexões sobre o tempo, principalmente pela lentidão de seus movimentos. Chloé Moglia transita entre a disposição de arriscar e a busca de sentido e empolga o público ao brincar com o medo da queda. A performance de Chloé Moglia aqui apresentada intitula-se Horizon. O nome desta obra-prima física, criada em 2013 por encomenda do Festival Paris Quartier d’Été, foi escolhido de forma excelente. Horizon é um jogo entre o trapézio e uma estrutura esguia que serve tanto como elemento escultural quanto como elemento de sustentação. Nesta constelação, Moglia cria um espetáculo leve que se encaixa perfeitamente em seu entorno.

Interactions du corps abstrait
Avec “Interactions of the Abstract Body”, McElheny a poussé ces idées plus loin, créant un ensemble de travaux vaste et varié qui examine comment la mode et le modernisme se sont entrecroisés et influencés, en particulier à travers le langage commun du corps. Fondamentalement, McElheny a animé cette dynamique avec la présence constante d’un interprète. En combinant une performance continue en chair et en os avec une sculpture statique dans le même espace de galerie, une première pour White Cube, McElheny rompt radicalement la distinction entre performance et exposition.

Mimed Sculptures,(Henry Moore, Moon Head)

“Artistas vestidos com uniformes brancos e luvas de manuseio de arte rosa se movem em torno de pedestais de vários tamanhos. Eles gesticulam, imitando os contornos de esculturas – Le-nez de Giacometti (1947), Hang up de Eva Hesse (1966) e Paisagem inconsciente de Louise Bourgeois (1967 -8), entre outros.
Como se fosse um jogo de charadas da história da arte, você se pega adivinhando com o que eles estão manipulando, qual é a superfície e a textura dos objetos. Através dessa performance, a nova relação sensual com essas obras é formada. No entanto, você não pode deixar de fazer a conexão com o comentário sobre a arte de manipular em si – pode o mundo da manipulação de arte, instalação de exposições e, de fato, venda de obras de arte estar se tornando tanto uma arte quanto a própria obra de arte? ” Maisie Skidmore

Faust
Faust ist eine mehr als fünfstündige Performance, die während der sieben Monate der Biennale stattfindet. Die Arbeit interagiert stark von außen mit der Architektur des Deutschen Pavillons; in einem großen Käfig versteckte Wachhunde, dicke, bruchsichere Glasscheiben, die den Eingangsportikus des neoklassizistischen Gebäudes des Pavillons verschließen und dem Besucher nur die Möglichkeit des Blicks in die Haupthalle lassen, die Verlegung des Haupteingangs auf der Seite des Pavillons und schließlich die beunruhigende Präsenz von Menschen, die auf der Dachkante sitzen, antizipieren ein Gesamtkunstwerk, in dem sich verschiedene formale und expressive Schichten und Mittel – von visueller Installation bis Musik, von Malerei bis Live-Performance – überlagern.

Un artista della realtà che prende ispirazione dal quotidiano
Signe Pierce ha acquisito notorietà nel 2015 all’interno dei circoli artistici queer e femministi per il suo video di performance incredibilmente scioccante e toccante, American Reflexxx […] Attualmente, Signe sta elaborando i temi che ha iniziato a esplorare in quel video, come la sorveglianza informatica, i costrutti della femminilità e lo sguardo maschile.

Kit Básico
FILE FESTIVAL
The strategy is basically to oppose the residual imaginary, a series of light signals, wherein the video plays at being a future that reality look, using sunlight and smoke signals as a flexible margin of the latter where we will be in. There is a performance based on first calculating an escape, rejecting to be installed in the final place in our economic diaspora.

sanctum
Zach Blas（United States、1981）の作品は、テクノクラート社会の限界と基盤を描くことを目的として、視覚言語の慣習、価値体系、デジタル技術に内在する力のダイナミクスをさまざまな文脈で分析、調査、配置しています。 。 彼の分析とデジタル文化への反映のために、彼は映画、彫刻、執筆、パフォーマンスなど、さまざまな表現形式を使用しています。 ブラスはブラックユーモアと理論的研究に取り組んでおり、彼の最も顕著な影響の中には、神秘主義の伝統、サイエンスフィクションのジャンル、ポップカルチャー、クィアの美学があります。

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sanctum

The work of Zach Blas (United States, 1981) analyzes and explores the dynamics of visual language practices, value systems, and the forces inherent in digital technology in a variety of contexts, with the aim of depicting the limits and foundations of technocratic societies. I have placed it. .. For his analysis and reflection in digital culture, he uses a variety of forms of expression, including film, sculpture, writing and performance. Brass works on black humor and theoretical research, and among his most prominent influences are the mystical tradition, the genre of science fiction, pop culture, and the aesthetics of queer.

In Search of Petra Genetrix

Petra Genetrix, the protagonist of the series Porosity Valley, is a migrant, mineral, and data cluster. In this lecture performance, the artist traces the origin of Petra Genetrix who constantly crosses borders, gender boundaries, and the concept of existence and nonexistence and creates her own hyperbolic mythology. While utilizing audio and video excerpts from her existing works, Ayoung Kim uses her own voice to create a verbal narrative exploring those agents who cross boundaries. By doing so, she continues to trace multifaceted crystal faces of Petra Genetrix, who is fundamentally porous and ambiguous.

asphyxia
The performance is centered in an eloquent choreography that stresses the desire to be expressive without bounds. Motion data was captured using inexpensive sensors and that data paved the way through an extensive number of steps. Once all the scanned point cloud data were combined, they were used as the base for the creative development on the piece. A series of iterative studies on styles followed and several techniques and dynamic simulations were then applied using a number 3D tools for various results.

Eternity Be Kind
LaTurbo Avedon performs Myriam Bleau’s music in a multiplatform audiovisual performance. Eternity Be Kind exposes the codified spaces of performance and hints at a different future for personal and musical representation. Navigating between hyper-pop, mythical symbolism and baroque hints, the artists propose a multilayered experience of collective mise en abyme.
video

SoleNoid
Otto scarpe da tip tap sono disposte in uno schema circolare simmetrico. Queste scarpe sono a loro volta fissate a semplici strutture robotiche che utilizzano attuatori pneumatici ed elettrovalvole. Ciò consente alle scarpe di muoversi in molti modi. Ogni diverso movimento genera un tono diverso e questi suoni vengono sequenziati per produrre una performance uditiva.

Ciel Électrique
Une gigantesque installation ELECTRIC SKY composée de 640 lumières LED Winch XS et Sphere 17 a été créée par KINETIC LIGHTS pour une performance scénique épique en 2047 Apologue dirigée par ZHANG Yimou et produite par L!VE Kingway au National Center for the Performing Arts de Pékin. ZHANG Yimou brise la forme des pièces de théâtre traditionnelles, combinant les arts folkloriques chinois avec la technologie internationale, et créant ainsi une « performance conceptuelle » unique. Les arts populaires chinois ont été présentés avec différentes technologies de pointe, déclenchant une nouvelle vitalité. Notamment, 20 équipes et individus de sept pays se sont réunis dans cette performance.

Interpolate
Interpolate incorporates live coding and generative processes to create an audio/visual performance where visuals control audio, and audio controls visuals. Stark, minimal, generative 3D geometry and particle systems take the audience through the music, conveying the physicality of the sound while mapping out the emotional landscape of the melodies. To interpolate means to determine an intermediate value or term in a series by calculating it from surrounding known values; on stage Push 1 stop and Woulg send data wirelessly to each other in order to be able to patch new interactions between audio and visuals in real time, and interpolate the missing data between sound and image.

Glitch Robot
The Installation consists of several robotic actors. When the actors make contact with their instruments, they produce a sonic impression of an omnipresent texture of modern life: electronic music. The music robots used in this performance consists of recycled and 3D-printed parts such as harddisks, relays, tongues, motors and solenoids. Glitch Robot connects mechanical, visible movements to audible sound by using small sound-producing robots. Thus, the installation highlights the origin of the sound in a way no conventional medium of electronic music production is able to. Typically, electronic music eliminates the haptic aspect of sound-generation, creating a void in understanding of how sound, and thus music, is mechanically created.

61/6 haut-parleurs
Tacit Group est un groupe de performance audiovisuelle qui a été formé en 2008 pour créer une œuvre axée sur l’algorithmique et l’audiovisuel. Son art algorithmique se concentre sur le processus plutôt que sur le résultat. Ils créent du code mathématique, des systèmes utilisant des principes et des règles, et improvisent des performances scéniques à l’aide des systèmes. Pendant la représentation, les systèmes sont révélés visuellement et sonorement, afin que le public puisse entendre avec leurs yeux, comme on voit “Le Cri” d’Edvard Munch (Norvège, 1863-1944). Les images font partie intégrante du travail du Groupe Tacit en tant que compositeurs et artistes médiatiques. Ils espèrent qu’en montrant non seulement la pièce finie, mais le processus de discussion ou de jeu qui la génère, ils engageront plus intensément leurs téléspectateurs et briseront la division conventionnelle entre les interprètes et les membres du public. Aucun de ses travaux n’est jamais terminé. Ils mettent continuellement à jour les systèmes sous-jacents et s’inspirent de leur pratique de la programmation informatique. En tant qu’artistes de notre époque, Tacit Group découvre les possibilités artistiques de la technologie.

The Constant Gardeners
S’inspirant d’un jardin zen japonais traditionnel, quatre bras de robots industriels sont disposés autour d’une vaste toile de gravier avant de se réveiller et de commencer à ratisser la surface. Dans une série de performances quotidiennes, ces « jardiniers » travaillent ensemble pour créer des illustrations uniques et évolutives représentant les mouvements des athlètes. Générées par une série d’algorithmes sur mesure, qui analysent des séquences vidéo d’événements olympiques et paralympiques, certaines illustrations représentent un mouvement qui se déroule dans le temps tandis que d’autres mettent en lumière un moment sportif spectaculaire. Une méditation sur la tradition, l’artisanat et les rôles de la technologie, The Constant Gardeners offre aux visiteurs un espace paisible pour une introspection tranquille. L’œuvre explore un nouveau récit autour de la robotique, montrant que cette technologie est une force capable de créativité artistique et d’action expérimentale, qui joue un rôle déterminant dans notre cheminement vers un avenir plus heureux et plus sain.

Deep
DEEP è una performance visiva subacquea. Composto da 12’000 led che emettono 33’000 lumen di pura luce bianca. Questa installazione è alimentata da 400 amp di batterie al litio racchiuse in una custodia impermeabile. 3 sommozzatori motorizzati lo controllano a pochi metri sotto la superficie.

61/6 altavoces
Tacit Group es un grupo de performance audiovisual que se ha formado en 2008 para crear un trabajo centrado en lo algorítmico y audiovisual. Su arte algorítmico se centra en el proceso más que en el resultado. Crean código matemático, sistemas que utilizan principios y reglas, e improvisan actuaciones en el escenario utilizando los sistemas. Durante la actuación, los sistemas se revelan visual y sonoramente, para que el público pueda escuchar con sus ojos, como la forma en que vemos “El Grito” de Edvard Munch (Noruega, 1863-1944). Las imágenes son parte integral del trabajo de Tacit Group como compositores y artistas de los medios. Esperan que al mostrar no solo la pieza terminada, sino el proceso de charlar o jugar que la genera, involucren a sus espectadores más intensamente y rompan la división convencional entre los artistas intérpretes o ejecutantes y los miembros de la audiencia. Ninguno de sus trabajos se completa nunca. Actualizan continuamente los sistemas subyacentes y se inspiran en su práctica de programación informática. Como artistas de nuestra era, Tacit Group descubre posibilidades artísticas en la tecnología.

ECHO CHAMBER
Performance audiovisuelle en plusieurs tableaux, Echo Chamber s’inspire des technologies qui permettent de sonder l’intérieur du corps, telles que les ultrasons et l’acupuncture, générant une composition sonore dans laquelle l’idée de résonance prédomine. En créant une interface modulaire à trois panneaux permettant de multiples manipulations, Messier a défini les limites des possibilités d’exécution d’une chorégraphie son et lumière. Saisissez de longues aiguilles comme s’il s’agissait de notes d’un instrument, perçant une plaque sensible à l’audio qui déclenche des séquences sonores.

EEUWIG ZIJN VRIENDELIJK
LaTurbo Avedon brengt de muziek van Myriam Bleau in een audiovisuele performance op meerdere platforms. Eternity Be Kind legt de gecodificeerde ruimtes van de uitvoering bloot en hints naar een andere toekomst voor persoonlijke en muzikale representatie. Varend tussen hyperpop, mythische symboliek en barokke hints, stellen de kunstenaars een gelaagde ervaring voor van collectieve mise en abyme.
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ZERO POINT TWO V2
NONOTAK est un projet de studio créatif fondé par l’ancienne artiste visuelle Noemi Schipfer et l’ancien architecte-musicien Takami Nakamoto qui a été conçu fin 2011. NONOTAK travaille avec des installations lumineuses et sonores et des pièces de performance pour créer des environnements éthérés, immersifs et oniriques qui sont construits pour envelopper , défie et stupéfie le spectateur en capitalisant sur l’approche de Nakamoto à l’espace, la lumière et le son et l’expérience de Schipfer avec des dessins visuels et géométriques cinétiques. Il en résulte un duo qui crée des pièces qui associent lumière, son et espace afin d’offrir au public une expérience visuelle et sensible unique.

Horizon
Der Schwebezustand steht im Zentrum der Artistik von Chloé Moglia. Ob als Mitglied der Compagnie Rhizome, solo oder in Gemeinschaftsproduktionen beschäftigt sich die Künstlerin stets mit der Schwerelosigkeit. In ihren Darbietungen, in denen sich physische Kraft und Poesie verbinden, bezwingt sie die Gesetze der Schwerkraft und der Höhenangst. Daneben finden, vornehmlich durch die Langsamkeit ihrer Bewegungen, Reflexionen über die Zeit statt. Chloé Moglia bewegt sich zwischen Risikofreude und Sinnsuche und bringt ihr Publikum zum Mitfiebern, indem sie mit der Angst vor dem Fall spielt. Die hier dargebotene Performance von Chloé Moglia trägt den Titel Horizon. Der Name dieses physischen Meisterstücks, das 2013 nach einem Auftrag des Festival Paris Quartier d’Été entstand, ist vortrefflich gewählt. Horizon ist ein Spiel zwischen der Trapezistin und einer schlanken Struktur, die sowohl als skulpturales als auch als tragendes Element dient. In dieser Konstellation erschafft Moglia ein schwereloses Spektakel, das sich perfekt in seine Umgebung einfügt.

ECHO CHAMBER
Performance audiovisiva in più tableau, Echo Chamber si ispira a tecnologie che ci permettono di sondare all’interno del corpo, come gli ultrasuoni e l’agopuntura, generando una composizione sonora in cui predomina l’idea di risonanza. Nel creare un’interfaccia modulare di tre pannelli che consente molteplici manipolazioni, Messier ha determinato i confini delle possibilità per l’esecuzione di una coreografia di suoni e luci. Impugna lunghi aghi come se fossero note di uno strumento, perforando una piastra audio-reattiva che innesca sequenze sonore.

A Natural History of Networks / Soft Machine
A Natural History of Networks / SoftMachine è una macchina algoritmica elettrochimica che sonda un regime materiale computazionale e tecnologico alternativo, informata dagli esperimenti di Gordon Pask sui meccanismi di apprendimento elettrochimico [↓1] e dalla ricerca attuale sulla biomimetica, sulla materia programmabile e sul liquido controllato spazio-temporalmente attuatori in metallo. Al suo interno, un apparato sperimentale elettrochimico costruito su misura (SoftMachine) crea un microcosmo fluido dinamico che compie un continuo divenire di forme, strutture e narrazioni materiche. La performance mira a provocare nuovi immaginari del macchinico, dell’artificiale e della materia. Una tecnologia radicale che collega il pensiero meccanico tradizionalmente discreto e i materiali morbidi/fluidi che consentono un comportamento auto-organizzato attraverso le loro specifiche agenzie materiali.

FORMS- String Quartet
“FORMS – String Quartet” é uma performance multimídia ao vivo para quarteto de cordas, música eletrônica e visuais panorâmicos, baseada no conceito de “sonificação gráfica”. Os músicos interpretam uma série de partituras gráficas que por sua vez constroem a cenografia visual, oferecendo ao público a experiência de poder antecipar a “música que virá”. Essas partituras, juntamente com os espectrogramas que compõem o acompanhamento eletrônico da peça, foram previamente criadas por meio de algoritmos gráficos generativos.