QUBIT AI | quantum & synthetic ai
Electronic Language International Festival

July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

DET LYTTENDE SPEJL
Visitors to DNV-Gødstrup, a new hospital near Herning, Denmark, are greeted at the main entrance by an airy, round pavilion. Two curved pipes, crossing one another perpendicularly, hold a large disc aloft at a slight angle. The reflective underside of the disc mirrors the semicircular pipes, creating the illusion of two complete circles passing through the ceiling and rising into an imaginary space above. As visitors enter the pavilion, they can gaze up at their own reflections in the mirror and see themselves incorporated, upside down, into the artwork, embraced within the globe drawn by the pipes. The tilt of the ceiling allows the reflections to be seen from the outside. As the viewer moves towards and around the pavilion, the rings appear to shift in shape, changing from ellipses to circles and back again.

Symbiosis
In the installation area, the human body is augmented with video projected virtual images. Viewer and technology enter a symbiotic relationship and as a result, bring to life wonderful biomorphic creatures. They change constantly – reacting to your every movement and turning into new and unique forms each time. The installation was inspired by the symmetry of living organisms, the structure of exotic insects, and reflections on extraterrestrial life forms.

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.

Valla claimed to have collected a series of 60 “surrealistic” images, or that, at least, give that impression, during a long period “playing” in Google Earth.“The images are a kind of mirrors for a fun house.They are strange illusions and reflections of the real ”Despite the strong distortions, which easily resemble a surrealist painting, the images of the work do not have any manipulation of tools like Photoshop, for example.”The images are screenshots of Earth with basic color adjustments”, “This is a construction of 3D maps on two-dimensional bases, creating these fabulous and unintended distortions”.

Your double my double our ghost
The installation acts a space for the consideration of intimacy and meditation– both alone and with others that may share the space – through the merging of the viewer’s own reflections articulated through a composition of shifting light and emerging sounds which fill an otherwise dark chamber. Functioning similarly to the classic funfair mirror– the flexible silver two-way mirror sheeting forming an ethereal hanging centrepiece– the work invites the viewer to consider representations of themselves which appear distorted and transient, and which merge with those around them to form ‘new presences’. In this sense the viewer may see themselves multiplied or doubled with another viewer, or find themselves alone in a rare moment of literal reflection providing a contemplative space or eliciting a hallucinatory fantasy bringing forth ideas in neuroscience around the Self and Other.

My Whale
There is an impressive space at the front of the ship, with panoramic windshield and hexagonal pattern on the vaulted ceiling, remained from the 80-s, the time, when “Brusov” was constructed in Austria. Standing there gives you the feeling of floating through the reflections of the Krymsky bridge lights on the river, inside a giant whale head. Looking through its eyes, listening to its songs that flow across the brain made of hexagonal cells by the wires hanging down here and there.
With some light and sound we brought this whale to life.
Each piece of the projection onto the cells was cloned from the previous one with a random changes. So each cell behaved differently, pulsating to the rythm of the whale songs. To interract with the whale the visitor could place the phone screen above the black box in the center of the room.

Vertical Studies
Vertical Studies: Acoustic Shadows and Boundary Reflections; Water Tower Sint Jansklooster In their new collaborative work, Vertical Studies: Acoustic Shadows and Boundary Reflections, Signe Lidén and Espen Sommer invite participants on a journey to a 46-metre-high abandoned water tower in Sint Jansklooster. The tower has been re-imagined as a vertical field-lab where Lidén and Sommer discuss their ongoing research into connections between sound, history, wind and weather. To this end they have constructed a range of special instruments to record and playback sounds in the vertical dimension. The participants on this journey will experience live outdoor vertical studies and a vertical soundscape shaped by Eide and Lidén that ascends the tower’s spiral staircase.

Breath from Pineal to Hara

Coloured neon rings light up in a specified sequence behind a two-way mirror, layered with reflections of the visitors and the surrounding space. Starting with the inner ring, the individual rings light up one after the other. Once all rings are illuminated, they switch off again from the outer ring to the inside. The sequence and colours are reminiscent of the breathing technique from Pineal to Hara and the artwork invites the viewer to breath accordingly. Combined with the two-way mirror in front of it, it seems to awaken viewers to the present moment and make the usually unconscious process of breathing conscious for a while. Breathe in. Breathe out.

요르단 울프슨
ジョーダンウォルフソン
Colored sculpture
“Colored Sculpture” is a work in animatronic that becomes a mechanical theatre, with its spectacular performance brings us reflections on a dark past that we want to reject.“With a highly polished appearance, the work is suspended with heavy chains from a large mechanized gantry, programmed to choreograph his movements. The sheer physicality of the installation, which fills the entire space of the gallery and includes the work being hoisted and thrown hard on the floor, viscerally obscures the distinction between figuration and abstraction, in addition to promoting the formal and narrative possibilities of sculpture. “

Seeing spheres
Each of olafur eliasson’s seeing spheres supports a flat, circular mirrored face, framed by a ring of LED lights, which is oriented inward to reflect the mirrored faces of the surrounding spheres. Together they produce a surprising environment of multilayered, reflected spaces in which the same people and settings appear again and again, visible from various unexpected angles. Tunnel-like sets of nested reflections open up in the mirrors, repeating countless times and disappearing into the distance.

Field of Infinity

Inspired by both Italian Renaissance paintings and contemporary news broadcasts of protests at the border of Gaza with Israel – the work processes human gestures and figures in a landscape into a dark and colorful mix, opening up a series of reflections on the political image, the image of the political, the politics of the image, and the image of the image.

file sao paulo 2019 videoart

New Work
Mi Deng and Jason Shipley-Holmes perform
In “New Work” (dance), the viewer was best served by looking at the bodies’ wavering outlines, the women in strapless black leotards and tights, the men in black suits (though sometimes shirtless; costumes by Liz Vandal). Observe the strobe-like effect created by the ferociously waving arms and flexed hands, or the reflections that bounced off the ballerinas’ skin and pink toe shoes. Notice the exaggerated contours of sinewy muscles.

Floating Lens
The combination of movement and the reflections of the fresnel lenses, provide an interesting visual experience. When used on the rooftops of Paris, the Haussmanian roofs of the city seem to be seen through a dream. The wind on the lenses lightly distort the surroundings, creating a dream-like environment. Once again, the subtle mix of simple technology and poetic interpretation detach the conscious mind of reality. Leroy compares his project to an intriguing game of fluidity: “everything seems to breathe: no beginning, no end, just a stream.”

Father Form
Each “Father Form” becomes a sort of portal, a vessel for a trance-like experience. Upon entering, the spectator will become multiplied, obliterated, and disjointed by the multiple reflections. This sensation is amplified by the profound sonority of the work. These sculptural vessels blur the boundaries between inside and outside, opening and enclosure, the individual and the collective.

Reflections and Reflections

Taumascopio
‘Taumascopio’ is an art installation designed and realized by parisian architect-artist mattia paco rizzi for the 2014 kanal playground festival in brussels, belgium. the structure is completely covered with mirrors and as a result, offers a complete visual camouflage along the molenbeek’s canal. as its exterior panels fold, the overall massing creates a kaleidoscopic effect that reacts to heat. during the temperature’s evolution throughout the day, the surfaces present an ever-changing reflective effect. ‘the ‘taumascopio’ invites us to reflect in poetic vein on public space, like a box of delights that gives us multiple visions and allows us to see the city differently,’ says rizzi. ‘the mosaic of reflections sends our thoughts in new directions and invite us to create new ideas.’

Hunter and Dog
Oliver Laric is an internet-based artist, born in 1981, in Innsbruck, Austria. Laric’s web-based artistic practice or net art is characterised by the manipulation and reinterpretation of existing cultural images. His work blurs boundaries between the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations.He has participated in many group exhibitions as well as in numerous solo exhibition worldwide. He currently lives and works in Berlin.

2000 Cliparts

Oliver Laric’s work seeks to parse the productive potential of the copy, the bootleg, and the remix, and examine their role in the formation of both historic and contemporary image cultures. This process is intimately tied to his intuitive, idiosyncratic brand of scholarship, which he presents through an ongoing series of fugue-like expository videos (Versions, 2009—present), and further elaborates through his appropriated object works, videos, and sculptures, all of which are densely conceptually layered and often make use of recondite, technologically sophisticated methods of fabrication. Straddling the liminal spaces between the past and the present, the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations, Laric’s work collapses categories and blurs boundaries in a manner that calls into question their very existence.

貴宏岩崎
Такахиро Ивасаки
تاكاهيرو إيواساكي
Takahiro Iwasaki is recognized as one of Japan’s new generation of emerging young artists, who creates intricately detailed models that reinterpret contemporary cityscapes and iconic historic buildings. In recent years, his artworks have been featured in numerous international art fairs and major exhibitions, with sculptures from his reflection model series receiving the greatest attention. The reflection model series focuses on seven of Japan’s most sacred buildings that all have an intimate visual relationship with the reflections they cast in the water that surrounds them

White Noise
“I rework this canvas with a toolkit that includes clouds, reflections, plastic sheeting, cloth-encased figures as well as aperture, shutter speed and artificial lighting. I will photograph from above in order to flatten the perspective[…]” more…

ondulation

We enter a room and are plunged into semi-darkness. The room is dominated by an immense basin of water, ripples radiating across its surface in concentric rings. Intuitively we know that the sounds around us are closely related to the ripples, a fact reinforced by the water’s reflected movements on the surrounding walls through a sophisticated play of light. As we get closer, it becomes clear that the sounds are emanating from speakers concealed under the basin, the source of the ripples on the water’s surface. The water acts as a medium in the sense that it acts as middle ground: stimulated by the sound and swept by the beams of light, it produces richly evocative reflections. A latent photographic metaphor is at play in the installation: the water seems to take on the properties of a sensitive plate, with the sound imprinted upon it and revealed by the movement and stunning reflections projected on the walls.

Glass Labyrinth
“Setting up a maze with invisible walls may not seem like a challenge, but Morris’s creation harkens to ancient archetypes, while acting as a commentary on modernism and its reliance upon glass. Additionally, glass’s inherent reflections, refractions and other qualities promise to be as confusing to visitors as solid walls.” John Hill
video

文森特·勒罗伊
北极光环
stone age
Paris-based artist vincent leroy takes movement as the motivation for his work. he prefers this over form, material, or color. instead, he focuses on adding rhythm, pauses, and creating different patterns to set and differentiate every piece. ‘stone age’ is his latest sculpture and is made of fourteen triangular mirrors that move subtly, breaking its surroundings into thin reflections of space. these mirror images deconstruct the environment allowing for different visions of it.
This sculpture situates itself between poetry and technology, generating the opportunity to test visual and physical experiences that relate to space. ‘stone age’ looks like a heavy and rigid structure, but it will surprise the user when it twists and deforms with flexibility and fluidity, creating a delicate contrast. all the movement is created using very low technology.

МАРКУСА ШТУДТМАННА
reflections

ЛЕАНДРО ЭРЛИХ
莱安德罗·埃利希
Port of Reflections

Anamorphic sculpture

London-based artist Jonty Hurwitz creates amazing anamorphic sculptures that can only be seen in their own reflections. In fact, without the mirror cylinder, most of his pieces would look like rubbish.
To create these sculptures, Jonty first scans a three-dimensional object, then uses computational software to come up with new physical forms.
“Finding that line between art and science is the underlying motivator in my art life,” says Jonty. “At heart I’m an artist scientist archetype that loves projects and people. Each of the art works and ventures on this site represent a part of what I am.”

N-Light Membrane

Built and designed by Numen/For Use, N-Light Membrane is a giant cube with three out of the six surfaces made of flexible membrane (foil mirror) with an air tank and a compressor connected to it. The other three mirrors are semi transparent spy-glass. By inflating or deflating the air tank, the membrane turns convex or concave, deforming the reflections within.

Leaf House Sydney

Leaf House is building that allows users to be inside and in-the-garden at the same time. It is a self contained cottage forming part of a coastal residence in Sydney; a Pavilion for experiencing Nature. The building integrates the environment and reflects qualities of the landscape: its canopy structure blends into the foliage; its podium base shapes the terrain. The design is characterised by curved copper roof shells resembling fallen leaves and a vine-like structural system channelling dynamic growth inside. Daylight filters through porous roof shells onto a podium deck and the open plan living areas. Views and reflections subtly modulate the surrounding garden through an enclosure of moulded glass. Private spaces offer introspection inside the sandstone podium buried in the terrain. The project entailed design and building roles as methods were improvised to achieve high technical complexity within cost constraints.

Reflections