SHIFTING

Mirage Bureau & Rene Cardillo

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – CINEFILE | Short
Electronic Language International Festival

Shifting – Brazil

In seemingly ordinary supermarkets, everything stands on the verge of transformation. The everyday environment along with everyone undergoes a transition into an unstable spatial condition.

Shifting traces this process: people and objects appear to traverse invisible layers of reality following the emergence of an extradimensional presence. What was once familiar becomes indeterminate, as if space itself were recalibrating according to an unfamiliar logic.

BIO

Mirage Bureau is an artist working at the intersection of artificial intelligence, poetics, and visual storytelling. His practice explores emerging frontiers of AI-generated image-making, treating the body and language as delicate instruments of connection, continually disrupted by noise, projection, and emotional overflow.

DREAM FACTORY

Mark Amerika, Chad Mossholder & Will Luers

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Full-length
Electronic Language International Festival

Dream Factory – United States

DREAM FACTORY unfolds across five movements, beginning with the molding of artificial forms as they imagine themselves into embodied existence and culminating in these entities speaking directly to viewers in modulated human voices. The work traces a complete evolution, from foundational apparitions constructing a sense of form, through experimental social embodiment, surreal encounters, and early attempts at speech that surface as Dada-inflected sound poetry, to articulations of self-reflection.

BIO

Mark Amerika is author of thirteen books including his most recent title, My Life as an Artificial Creative Intelligence (Stanford University Press, 2022). He is a Professor of Distinction at the University of Colorado. Will Luers is a digital artist and writer working with AI cinema, recombinant storytelling, and computational media. Chad Mossholder is a BAFTA-nominated composer and sound artist whose experimental electronic music is critically acclaimed.

THE MAGIC ROBOT

John Butler

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Full-length
Electronic Language International Festival

The Magic Robot – England

A tale of technological unemployment, only this time it’s the robots who are losing their jobs.

Loosely based on Upton Sinclair’s ‘The Jungle’, the Magic Robot traverses the worlds of bonded labour, industrial espionage, fine art and spirituality in his search for ‘Self‘. The Magic Robot is a work of Bureaucratic Science Fiction, confirming that we are living in a spreadsheet, not a simulation.

BIO

Studied Drawing & Painting and Electronic Imaging at Duncan of Jordanstone College of art, Dundee.

Lives and works in Glasgow as 3D animator. His personal work makes extensive use of CGI, motion capture, and, lately, ‘Interrogative Fashion’.

Has exhibited and screened media art work extensively in the UK and abroad, and has produced work for broadcast in UK for BBC2 and Channel 4.

ZERSETZUNG

Michael Betancourt

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Animation
Electronic Language International Festival

Zersetzung – United States

The term “Zersetzung” [decomposition] identifies the psychological repression employed by the Stasi in the DDR that attacked their victims’ self-perception, confidence, and capacity for resistance through deliberate alienation and paranoia. Victims found themselves isolated, doubting their own memories and relationships, as the secret police manipulated their social environment to create chronic uncertainty about what is real, true, authentic; precisely the same instabilities created by AI.

BIO

Michael Betancourt is a distinguished Cuban-American (Latinx) critical theorist, moviemaker, and research artist known for his work in the fields of digital capitalism, motion graphics, and Glitch Art; a pioneer of Glitch Art, he has made visually seductive digital art since 1990 that brings the visionary tradition into the present by glitching still and moving images. 

THE PSYCHEDELIC PUPPET SHOW

Brad Necyk & Jason Silva

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Animation
Electronic Language International Festival

The Psychedelic Puppet Show – Canada

The Psychedelic Puppet Show is a surreal satire that confronts the mental health crisis through absurdity and childlike wonder. When Edgar is admitted to a psychedelic puppet hospital, he undergoes bizarre, revelatory treatments that unravel his understanding of sanity itself. As the line between therapy and control dissolves, a playful rebellion emerges—challenging the authority of Western psychiatry and imagining liberation through imagination.

BIO

Jason Silva is a futurist, filmmaker, and Emmy-nominated host of Brain Games on National Geographic. Creator of Shots of Awe, his work explores technology, consciousness, and human potential through cinematic philosophy.

Dr. Brad Necyk is an artist, filmmaker, and writer with a PhD in psychiatry. His work bridges mental health, creativity, and emerging media.

SOULMATE

Axol

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Animation
Electronic Language International Festival

Soulmate – China

A soulmate-seeking journey through four symbolic spaces traces One’s transformation from incompleteness to self-realization, as they shed layers of desire, identity, and illusion to uncover the raw self within.

BIO

Axol is a multidisciplinary artist working across animation, media arts, filmmaking, and performance. Based in China / Japan, their practice centers on bodies and their relation to constructed systems and space, examining modes of (hetero/appearance/etc.) normativity within contemporary East Asian contexts.

LAZÚLI

Aline Figueiredo, Beatriz Cruz & Milton Felipe

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Animation
Electronic Language International Festival

Lazúli – Brazil / Canada

In the midst of a dark forest, a woman and a child flee from shadows. When they find themselves cornered, the woman is forced to find a way to save them.

BIO

Aline Figueiredo, 27 years old, graduated in Medicine, and studied Animation at Méliès. She dedicates herself to 3D art, focusing on Texturing and Lighting.

Beatriz Cruz, 22 years old, graduated from Méliès and holds a technical degree in Multimedia from IFPB; is passionate about art and animation.

Milton Felipe, 20 years old, is a debut director with a degree in Animation from Méliès. Passionate about visual arts, he works focusing on art direction.

SPIKE

Yoshi Sodeoka

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Spike – Japan / United States

A collaboration between Max Cooper and Yoshi Sodeoka, Spike pairs polyrhythmic electronic sound with generative visuals inspired by reaction-diffusion systems. Abstract, organism-like forms emerge, mutate, and self-organize through feedback processes, moving between control and unpredictability. The work explores growth, transformation, and the dynamics of evolving systems.

BIO

Yoshi Sodeoka is a New York-based artist working across video, animation, and sound. His practice explores generative systems, video feedback, and diagrammatic visual languages. Drawing from nature, mathematics, and computation, his work examines evolving structures and perceptual experience through immersive installations and moving image. Music by Max Cooper.

REBORN

Kaoru Tanaka

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Reborn – Japan

Reborn is a generative artwork created from real point cloud data. The piece depicts a playground slide, a symbolic fragment of childhood memory, continuously deconstructing and reconstructing itself in space. Fragments scatter, collapse, and reconnect over time, reflecting the unstable nature of memory and how experiences are constantly reinterpreted and given new meaning. Through transforming accumulated data into shifting structures, the work explores remembrance, perception, and reconstruction.

BIO

Kaoru Tanaka is a Japanese generative artist who creates real-time digital artworks and installations using computational processes. Inspired by nature, memory, dreams, and perception, her works explore transformation through particles, light, and evolving structures. Her works have been exhibited internationally in museums, public spaces, and digital art festivals.

CONFETTI

Chris Barber

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Confetti – United States

Confetti is a generative composition built from a swarm of random walkers, particles that move step by step in unpredictable directions, each trailing a ribbon of bright, saturated squares. Their motion is shaped by Perlin noise, a smooth, natural-feeling randomness often used to simulate organic phenomena, pairing fluid movement with crisp geometric form. With every refresh the field reorganizes itself, never repeating, never still: a celebration of color and structured chance.

BIO

Chris Barber is a generative artist working at the intersection of code and creativity. Using tools like p5.js and openFrameworks, he brings algorithms to life as dynamic, animated digital art. By combining technology, randomness, and a sharp visual sensibility, his work generates unique compositions with every refresh—known for its vibrant palettes, fluid motion, and mesmerizing patterns.

240507: REALITY LENS

Che-Yu Wu

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

240507: Reality Lens – Taiwan

Real-time WebGL meditation where fifteen vortex points distort every pixel through layers of noise, angle, and time. The work makes algorithmic perception visible: there is no unmediated image—every color and edge arrives already refracted. Like liquid marble between order and chaos, it asks how mathematics becomes felt aesthetics, and whether any perception of “the real” is not itself a lens of computation.

BIO

Founder of MonoLab, dedicated to “casting eternal life and emotion in the digital world.” His practice is staked on creating “living artworks”—emergent digital entities that develop, respond, and persist through an improvisational loop between algorithm, audience, and author. By exploring “Digital Holobionts”—co-evolving systems of humans, AI, and code—Wu cultivates semantic lifeforms as a new category of contemporary art, bridging engineering with poetic philosophy.

CAIRN

Game Bakers

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Games
Electronic Language International Festival

Cairn – France

Reach an unexplored summit in this climbing and survival game from the creators of Furi and Haven. Plan your route and climb wherever you choose, carefully managing pitons and resources to survive the unforgiving Mount Kami. Discover what Aava is willing to sacrifice to complete the greatest ascent of her life. 

BIO

Independent game studio dedicated to creating memorable games that make players feel alive and energized. They approach game development the same way they approach cooking: with a lot of heart, unique recipes, and a passion that shines through in every project. The studio focuses on developing original creations and self-publishes its own titles.

A WALLED CITY

Weidi Zhang & Rodger Luo

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

A Walled City – China / United States

A Walled City is an interactive AI installation that transforms personal and collective visual memories into a decentralized city. Grounded in the spatial logic, zoning, and aesthetics of the historical Kowloon Walled City (Hongkong), a self-built hyper-dense enclave that grew in a legal and political void from the 1950s to 1993, the work builds a multi-agent AI system to turn participant-uploaded images into architectural chambers, forming a living structure where data, memory and history converge.

BIO

Weidi Zhang is a new media artist and designer based in Los Angeles and Phoenix. She is a tenure-track Assistant Professor of Immersive Experience Design at the Media and Immersive eXperience (MIX) Center at Arizona State University.

EL MACROSCOPIO

Project Aurora

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

El Macroscopio – Colombia

Using the movement of your hands, manipulate a real-time universe simulation and blur the boundaries between scales, from the astronomically large galaxies to the tiniest particles of life. Become the composer of your own visual and auditory experience, as you create a unique and unforgettable journey for yourself and those around you under the dome.

BIO
Daniel Shambo is an award-winning art director and immersive media artist blending animation, creative coding, and new media design to craft visually poetic, sensorial experiences.

ALGORITHMIC PERFUMERY BY EVERYHUMAN

Frederik Duerinck

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

Algorithmic Perfumery by EveryHuman – Netherlands

Algorithmic Perfumery began with a simple question: what if every human could create their own scent? Designed as an object of curiosity, the installation invites people into a dialogue with themselves. Through interaction with an AI, visitors explore memory, imagination, preference and identity, creating a unique fragrance along the way. Scent is one of our most profound senses. It shapes emotion, evokes memory, and influences us long before we become conscious of it. By combining technology and perfumery, Algorithmic Perfumery creates a space for curiosity, reflection, and self-discovery.

BIO
Amir Admoni and Fabito Rychter have collaborated for over 10 years, creating films, TV shows, and theatrical works marked by a distinctive visual style and singular storytelling. The duo has gained international recognition, earning 71 awards and presenting their work at more than 120 festivals. Gravity VR is their first joint venture into virtual reality, followed in 2021 by Lavrynthos, their second VR project.

Ruckazoid
Dont let me go

Ruckazoid – Don’t Let Me Go (She ain’t mad at it) is an experimental, surreal journey into alternative graphical realities, planets and species. It depicts the need of lifeforms to make contact, but subliminally points out the fears of providing oneself as a target at the same time. We as humans search for other species in deep space, but what happens if we actually find them?

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.

I Just Don’t Know What To Do With Myself

I Just Don’t Know What to Do with Myself est une série d’appareils autour des empreintes digitales. L’empreinte digitale est une image que chacun d’entre nous porte en lui. Cette installation cherche à détourner son usage habituel et l’identification avec une transformation imprévisible. L’installation interactive permet au visiteur de scanner son empreinte et de voir l’image évoluer dans le temps. L’empreinte digitale dérive et se casse comme un iceberg sur un océan limité par l’écran.

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.

The Light of Life

Life is transparent, warm and swirls randomly like a soft light. And it constantly changes…

Life illuminates itself and then it begins to illuminates a new life.

A sprouted mass of innumerable lights become a flow before long, and then become the part of the life-throb of ages.

That ties life, this moment now.

Boundaries

Memo Akten & Katie Peyton Hofstadter

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

Boundaries – United States

Boundaries is a monumental work that explores the illusion of separation—between self and other, body and environment, matter and mind—and reflects on the interconnectedness of all things, from microorganisms to atoms forged in extinct stars. Created with custom code, AI, computer vision, digital painting, and dance, the work unites technology and bodily expression in an intimate and contemplative experience.

BIO

Memo Akten, a Turkish artist, musician, and researcher based in Los Angeles, creates speculative simulations about the relationship between humans and machines. With a PhD from Goldsmiths, he is a pioneer in the creative use of neural networks under human control. Katie Peyton Hofstadter is an artist, writer, and curator. Her work investigates the intersections between embodiment, technology, and consciousness, exploring how technologies shape cultural narratives and sensory experience.

Micromacro

ECA-USP Partnership

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

Micromacro – Brazil

In the LED SHOW category, the partnership between FILE and the Visual Arts Program of the Department of Fine Arts of the School of Communications and Arts at the University of São Paulo resulted in works developed under the guidance of Prof. Dr. Silvia Laurentiz, and with the collaboration of Dimitri Lomonaco. This partnership seeks to reaffirm the connection between the Festival and the University, stimulating the production of art in new media: a unique opportunity to access languages, cutting-edge technologies, and innovative resources for reflection and experimentation in the artistic environment and across cultural circles. Micrômacro is a compilation of independent videos, developed based on the following synopsis:

What distinguishes the whole from the part? Where is the limit between “we” and “I”? At what point do I separate myself? This work is a collection of investigations into the indivisible length of the split, the boundary between what separates and what unites. Micromacro is the result of this division. A significant unity of contrast. Part/Whole of the world. Present in each part, everywhere, chrono-micro-macro-macro between us.

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.

ChromaPause

Jiatong Yao

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

ChromaPause – China

ChromaPause is an experimental film that explores the relationship between urban life, posthuman identity, and the yearning for nature in a digitalized world. Futuristic flowers bloom in a surreal mesh, symbolizing the balance between the organic and the synthetic. Posthuman figures merge with the technological landscape, embodying the convergence of humanity and technology. The work invites pause and reflection in this pulsating universe.

BIO

Jiatong Yao connects art, technology, and culture, exploring XR, 3D, AI, and interactive computing. He reflects on the transformation of the modern self through technology, creating immersive experiences that intertwine humanity and the digital age. With a background in computer science and technical art, he develops innovative projects on the impacts of information on society. 

Approximations of a Body Part

Jon Chambers

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

Approximations of a Body Part – United States

A machine learning experiment that takes custom model outputs trained on 3D body scans and uses them in other model inputs. After a few cycles, the resulting videos depict terrifying, seductive and uncanny distant echoes of the original body.

BIO

Jon Chambers is an artist and educator based in New Orleans. His work explores how we negotiate our physical and virtual lives to highlight a fractured sense of self as we attempt to coalesce disparate echoes of reference into something coherent amidst the difficulty of manifesting or orienting oneself within approximation and simulation overload.

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

sorrow

Fran Orallo

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

sorrow – Spain

The work consists of a video glitch that shows a distorted body making dramatic movements. The project questions the idea of identity and identification with one’s own body, showing a disjuncture when it comes to representation. The work is a metaphor that represents the violence exerted on a dissident body. The video is collected within the field of self-portrait since the body rep resented is the artist’s own body.

BIO

Fran Orallo lives and works in Glasgow, Scotland. He studied art at UPV, Valencia, Spain, and New Media Art at City of Glasgow College, Scotland. His work focus es on experimentation with the field of video and animation. He has exhibited his work both in Spain and abroad, participating in biennials, collective exhibitions, and festivals in more than 40 countries.

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.

Spiral of Time — Amazonas Brazil — UFAM

Edwin van der Heide

Interact with Spiral of Time — Amazonas Brazil — UFAM via FILE ARCHIVE

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

Spiral of Time — Amazonas Brazil — UFAM – Netherlands

Spiral of Time captures and stages the diverse soundscape of a specific location over the course of several years. By documenting the unique natural, cultural, spatial, and temporal dynamics of a place, the work honors the contributions of all its actors. Every hour, a one-minute recording is made, resulting in a vast sonic archive over time. It is accessible online through a spiral-shaped interface, allowing listeners to explore the cyclical patterns revealed by navigating the material across different time intervals. 

Since July 17th, 2024, the artist has been recording the sounds of the square in front of MACBA (Museum of Contemporary Art of Barcelona). It is a very interesting, diverse, and vibrant urban space. The work is accessible online via https://www.macba.cat/en/spiral-of-time-placa-dels-angels/ and will also be presented physically in the museum starting July 10th, 2025.

Edwin is expanding the project to include other recording locations around the world—not only in urban contexts (dominated by humans) but also in areas governed by nature. The artist dedicated himself to a recording site in the Amazon region. Since February 11th, 2025 Spiral of Time has been installed at the Amazon Rainforest surrounding The UFAM (Federal University of Amazonas) in Manaus. It is home to one of the world’s largest urban forest fragments. Completely surrounded by the dense urban matrix of Manaus, this forest has been isolated since the late 1980s. The forest retains rich ecological features, including areas of mature terra-firme forest, late-stage secondary vegetation, and small patches of white-sand forests. This unique setting offers a rare opportunity to study tropical forest dynamics within a metropolitan environment. 

Spiral of Time-UFAM immerses the listeners in the acoustic life of one of the most biodiverse ecosystems on the planet. This contrast between the natural rhythms of the forest and the human-made patterns of the city enriches the broader narrative of the Spiral of Time, offering a deeper reflection on coexistence, change, and continuity across different environments.

BIO

Edwin van der Heide is an artist, composer, and researcher focused on sound, space, and interaction. His work pushes the boundaries of musical composition toward spatial, interactive, and interdisciplinary directions. He creates installations, performances, and immersive environments where the audience is placed at the center, encouraged to engage sensorially and investigatively.

SELF ABSORBED

Tim Murray-Browne

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

SELF ABSORBED – Scotland

SELF ABSORBED is an interactive installation exploring how AI interprets human identity. A custom model reads the visitor’s body, linking each pose to generative audiovisual output. Unlike human-designed interfaces built on reductive abstractions, this interaction emerges from unsupervised machine learning, forming a connection with a multidimensional, non-linear, and non-representational digital space.

BIO

Tim Murray-Browne is an interactive artist and creative coder. He creates installations and performances using the moving body to shape immersive experiences. His work questions what aspects of our humanity are lost as we entangle ourselves with the bureaucratic mechanics of AI and digital technologies.

Veillance

Louis-Philippe Rondeau

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

Veillance – Canada

Inspired by Steve Mann’s research, Veillance explores mutual surveillance between citizens and institutions. While observing digitized portraits of others, visitors also have their image captured and added to the archive. Yet through subtle gestures and changes in appearance, one can evade the scan, effectively hijacking the scanography process.

BIO

Louis-Philippe Rondeau designs playful, unconventional devices that explore self-representation and performance. His research-creation practice prioritizes user-friendly design, concealing complex code behind intuitive physical interfaces.

Hunter and Dog

Frederik De Wilde

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

Hunter and Dog – Belgium

Genetic and evolutionary algorithms reinterpret an existing artwork. De Wilde uses digital scans and custom genetic and evolutionary algorithms as a deconstruction technique to reinterpret and update the nineteenth-century work Hunter and Dog from sculptor John Gibson R. A. (1790–1866).

Frederik De Wilde’s Hunter and Dog interrogates the intersections of human evolution, genetic engineering, and the hybridization of technology and biology. De Wilde reinterprets the historical sculpture through the lens of post-evolutionary theory, engaging with contemporary debates on CRISPR, synthetic biology, and the implications of human-directed genetic modification. CRISPR, the revolutionary gene-editing technology, has introduced an unprecedented rupture in the trajectory of evolution. No longer constrained by the slow mechanisms of natural selection, humans now possess the ability to intervene directly in their own genetic blueprint, marking a shift toward a post-Darwinian paradigm. This technological power, however, is not neutral; it emerges from a historical lineage of scientific inquiry deeply entangled with colonialism. The history of genetic manipulation is inseparable from colonial bioprospecting, eugenics, and exploitative medical experimentation on marginalized populations. Colonial regimes treated bodies—both human and non-human—as sites of intervention, control, and optimization, a logic that persists in contemporary biotechnological frameworks. Post-colonial discourse reveals how genetic engineering risks perpetuating these legacies, reinforcing power asymmetries between those who wield biotechnological control and those subjected to its consequences. CRISPR, while offering the promise of eradicating disease and expanding human potential, also raises ethical concerns about genetic stratification, bio-capitalism, and the commodification of life itself. De Wilde’s work visualizes these tensions, making visible the processes of cell division and morphogenesis—the very biological mechanisms now subject to human intervention. Hunter and Dog does not merely depict the transformation of a neoclassical form but speculates on the future of the human body as a site of engineered evolution. From a decolonial perspective, the artwork questions who has the authority to edit life and to what ends. It challenges the techno-utopian narratives that frame genetic modification as an inevitable progress while obscuring its social, ethical, and ecological implications. By hybridizing art, science, and technology, Hunter and Dog compels us to confront the uncertainties of a CRISPR-driven future: Will genetic editing reinforce existing inequalities, or can it be decolonized and democratized? How do we navigate this post-natural frontier without losing the human—and more-than-human—dimensions of our existence? De Wilde’s work invites us into this speculative space, where the hunter, the dog, and the algorithm coalesce into a vision of a world where biology is no longer destiny, but a site of contested agency.

Where are we going from here? 

BIO

Frederik De Wilde fuses art, science, and tech. Known for his Blackest-Black works that inspired Kapoor’s Vantablack, he has shown at Venice Biennale, BOZAR, MAAT, Pompidou, and ZKM, winning awards like Ars Electronica.

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’.”

EGO

FILE 2024 | Installations
International Electronic Language Festival

The mirror stage in psychology explains how the Ego forms through objectification, where one’s visual appearance comes into conflict with emotional experience, a concept called ‘alienation‘ by psychoanalyst Jacques Lacan. The interactive installation EGO reenacts and reverses this process by distorting the mirror image based on the user’s movements, highlighting the tension between the real and the symbolic, the Ego and the It, subject and object.

Bio

Klaus Obermaier is an interdisciplinary artist, director and composer who creates innovative works in the performing arts, music and installations using new media. Stefano D’Alessio researches social issues induced by the internet and explores how the web and its derivatives influence human behavior and the body. Martina Menegon creates intricate assemblages of physical and virtual elements, exploring the contemporary self and its hybrid corporeality.

Around The Milky Way

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival

Valentin Rye – Around The Milky Way

In the distant future, several species inhabit the Milky Way. This scenario inspired the video, aiming to portray various forms of life and evoke a plausible atmosphere. Using images he created, the artist experimented with Stable Video Diffusion, a new video generation method. The objective was to expand the limits of this neural network and improve its output, resulting in the conception of this video.

Bio

Valentin Rye is a self-taught machine whisperer based in Copenhagen, deeply passionate about art, composition and the possibilities of technology. He has been involved in AI and neural network image manipulation since starting DeepDream in 2015. While his IT work lacks creativity, he indulges in digital arts during his free time, exploring graphics, web design, video, animation and experimentation with images.

Space Odyssey 2002

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Valentin Rye – A Space Odyssey 2002 – Denmark

This video offers a surrealist take on futuristic sci-fi concepts from the 60s and 70s. Imagine a future colonization of Mars where interior design is given an avant-garde twist. It was created by brainstorming visual ideas, generating countless images, refining the best ones and assembling them into clips. After careful selection, these clips have been organized into a cohesive timeline, accompanied by atmospheric music to enhance the overall experience.

Bio

Valentin Rye is a self-taught machine whisperer based in Copenhagen, deeply passionate about art, composition and the possibilities of technology. He has been involved in AI and neural network image manipulation since starting DeepDream in 2015. While his IT work lacks creativity, he indulges in digital arts during his free time, exploring graphics, web design, video, animation and experimentation with images.

Floating

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Leilanni Todd – Floating – United States

Floating explores the concept of surrendering and freeing oneself by allowing oneself to float, symbolizing overcoming adversity and mastering self-confidence. Inspired by her grandmother’s journey to overcome her fear of water through swimming, the work uses water and sea creatures as symbols of resilience and transformation. The personal narrative behind the work adds depth to its exploration of overcoming fears and discovering inner strength.

Bio

Leilanni Todd is an award-winning creative director with extensive experience in advertising, fashion and new media. Originally from Toronto and now based in New York, she harmoniously integrates art, technology and culture into her work. Through her FLOAM WORLD platform, Leilanni creates surreal narratives, reimagines traditional norms in fashion and advertising, and addresses complex human issues with humor and creativity.

Brain Entity

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Luigi Novellino (aka PintoCreation) – Brain Entity – Italy

In a laboratory, a brain-like organism grows rapidly, integrating with technology and evolving into a giant entity that manipulates objects with its mind. He hypnotizes the city, absorbing energy and creating patterns. Efforts to stop him fail, signaling a battle to understand existence. This symbolizes a new era of coexistence, urging us to embrace interconnectivity and navigate a more integrated world.

Bio

Fascinated by the limitless domain of AI, Luigi Novellino adopts the title syntographer, a term that resonates deeply within the community. The artist often asks himself: “am I an artist?” Art, in his view, defies rigid definitions or limits; it represents a fluid expression of creativity that transcends labels. The artist’s ultimate goal is to awaken something in the viewer, provoking thoughts and evoking emotions.

Credits

Music: Odyssey by John Tasoulas

Blob Alien Mouth

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Luigi Novellino (aka PintoCreation) – Blob Alien Mouth – Italy

The journey begins with Deforum, using the Automatic1111 interface to create basic images with the StableDiffusion XL, EndjourneyXL, and Lora XLFullArt templates. The video undergoes a transformation using the Absolute Reality model and Lora Aurora style, guided by the IPAdapter node and refined by QrCode Controlnet.

Bio

Fascinated by the limitless domain of AI, Luigi Novellino adopts the title syntographer, a term that resonates deeply within the community. The artist often asks himself: “am I an artist?” Art, in his view, defies rigid definitions or limits; it represents a fluid expression of creativity that transcends labels. The artist’s ultimate goal is to awaken something in the viewer, provoking thoughts and evoking emotions.

Credits

Music: Oleh Boretskyi

MIT Media Lab, Stanford University
This work explores a dynamic future where the accessories we wear are no longer static, but are instead mobile, living objects on the body. Engineered with the functionality of 18 robotics, this “living” jewelry roams on unmodified clothing, changing location and reconfiguring appearance according to social context and enabling multitude presentations of self. With the addition of sensor devices, they transition into active devices which can react to environmental conditions. They can also be paired with existing mobile devices to become personalized on-body assistants to help complete tasks. Attached to garments, they generate shape-changing clothing and kinetic pattern designs–creating a new, dynamic fashion.
It is our vision that in the future, these robots will be miniaturized to the extent that they can be seamlessly integrated into existing practices of body ornamentation. With the addition of kinetic capabilities, traditionally static jewelry and accessories will start displaying life-like qualities, learning, shifting, and reconfiguring to the needs and preferences of the wearer, also assisting in fluid presentation of self. We envision a new class of future wearables that possess hybrid qualities of the living and the crafted, creating a new on-body ecology for human-wearable symbiosis.

IJIROS
file festival
Ijiro is a robot which expresses emotions reacting to a user’s actions. Boldly, it consists of an OLED display, a speaker and an accelerometer in a cylinder shell. Ijiro isn’t able to move itself because it doesn’t have any actuators. However, it expresses emotions with faces in the display and voice from the speaker when a user touches it, lying, standing, swinging, hanging and so on. For example, if a user swings it softly, it reacts smiling. But if a user swings it roughly, it reacts angrily. So those reactions let users feel it like a baby. It is actually baby’s emotions characterized by cognitive science. Also, Ijiro’s shape is designed as a cylinder. It is considered to get various user’s actions because only a cylinder can be stood, lied down, rolled and so on in primitive shapes. Recently it has been easier to use electronic parts for arts. One advantage of making art pieces with compact electronics like a cell phone. So the art style is able to change from being viewed in a large room to being anywhere. Ijiro was developed to entertain people to keep it like a physical pet. We hope you all enjoy touching it.

The Robotic Chair
The Robotic Chair is a generic-looking wooden chair with the capacity to fall apart and put itself back together. With shuddering force, the chair collapses to the floor. With persistence and determination, it proceeds to seek out its parts and upright itself. Powered by MICROMO coreless dc motors, The Robotic Chair is distinguished in the world of objects for its capacity to elicit empathy, compassion and hope.

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.

A Pigeon Sat on a Branch Reflecting on Existence
A sense of depression is reflected in his reluctance to use close-ups or camera movement, yet Andersson has quite an eye for beautiful set-ups even within the restrictions he’s given himself. His sense of humor is deadpan and misanthropic yet humanist. Andersson’s dour wit isn’t far from Louie. A Pigeon Sat On a Branch Reflecting On Existence expects the worst from the human race but holds out a slim hope for the best.

Bi0film.net
Independent and distributed communication networks are at the core of self-organized communities. Based on the idea of biological peer-to-peer networks, which explore how microorganisms like bacteria communicate and collectively act, we have built a human biofilm-like connectivity enhancer.20

MAN-NAHĀTA
Computational growth across material and urban scales offers a framework for design through self-organization, enabling the generation of vast, diverse forms exhibiting characteristics like those that emerge through the biological growth processes found in Nature. In this project, we construct an oriented volume spanned by surface normals of the shape at every point. The value of the oriented volume drives the iterative deformation of the shape. Depending on the parameterization of this process, we can obtain distinctly different growing forms. Importantly, the emergence of these forms is driven only by the time evolution of a geometric operator acting on the shapes iteratively, thereby connecting geometry and growth through an algorithm. To form the Man-Nahata landscape, the buildings of the urban landscape are transformed through repeated morphological closing operations, where the field of influence follows a gradient from the center to the outskirts of a circular region.

Coro pêndulo
Pendulum Choir é uma peça coral original para 9 vozes A Cappella e 18 macacos hidráulicos. O coro é constituindo por um corpo vivo e sonoro. Esse corpo se expressa por meio de vários estados físicos. Sua plasticidade varia de acordo com sua sonoridade. Varia entre sons abstratos, sons repetitivos e sons líricos ou narrativos. Os corpos dos cantores e suas vozes brincam com e contra a gravidade. Eles se tocam e se evitam, criando polifonias vocais sutis. Ou, apoiados por sons eletrônicos, rompem sua coesão e explodem em um voo lírico ou se dobram em um ritual obsessivo e sombrio. O órgão viaja da vida à morte em uma alegoria robótica onde a complexidade tecnológica e o lirismo dos corpos em movimento se combinam em uma obra com acentos prometéicos.
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Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir is constituted by a living and sonorous body. This body expresses itself through various physical states. Its plasticity varies according to its sound. It varies between abstract sounds, repetitive sounds and lyrical or narrative sounds. The singers’ bodies and their voices play with and against gravity. They touch and avoid each other, creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and explode in a lyrical flight or bend in an obsessive and dark ritual. The organ travels from life to death in a robotic allegory where technological complexity and the lyricism of moving bodies combine in a work with Promethean accents.

Pardon Our Dust
Pardon Our Dust è una nuova installazione digitale – una simulazione e narrazione virtuale – in cui l’avatar-self di La Turbo Avedon accompagna i visitatori attraverso diversi paesaggi e spazi del mondo virtuale, che – alludendo al titolo della mostra e allo sviluppo di Web3 – sono in un costante stato di costruzione e decostruzione.