24 drones
24 Drones is a video demonstration of the incredible drones made by Rhizomatiks and their ability to move around 3d space in ways never before seen. With intricate sensor systems both on the drones and in the room the drones are constantly checking their surroundings and mapping them in order to move without colliding with each other or a speaker who stands in the middle of the swarm of drones directing them with gestures and movements. The movement of the drones is not only controlled and safer than ever, the drones awareness of their surroundings makes them appear conscious and gives them a sense of personality.

FILE 2026

Art and Technology Festival | Installations: artistic systems, indoor  or  outdoor , in which the aesthetic experience emerges from the dynamic relationship between interface, data, environment, and body.  Digital technologies, technologies with artificial intelligence, metamaterial technologies, random technologies, sensors, algorithms, and responsive systems are employed by the artist as structural elements of the work, which is completed in the encounter between the work and the participant.

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Robotics and AI Art Festival: Mechanical, autonomous, and intelligent systems as aesthetic agents. The works explore movement, behavior, and interaction between humans and machines.  Sensors, actuators, and artificial intelligence structure the experience. These creations raise questions about autonomy, artificial life, and technological ethics. The machine becomes a palpable presence in the artistic space.

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Electronic Music and AI Festival: brings together interconnected fields of contemporary sound art, in which sound and technology operate as structuring elements of the aesthetic experience.  These approaches explore sound as spatial, sensory, and conceptual matter, articulating active listening, bodily presence, and synesthetic relationships between audio and video, through digital systems, generative intelligence processes, algorithms, field recordings, and audiovisual performances.

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

FILE 2026 | GENERAL REGULATIONS

Technosoma — Sensitive Circuits in the Flesh of the Machine

David Da Paz

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

Tecnosoma — Sensitive Circuits in the Flesh of the Machine – Brazil

In this workshop, participants will explore the fusion of body, technology, and artificial intelligence, creating interactive experiences with capacitive sensors and real-time generative models. Inspired by the concept of the Technosome—the machine as a sensitive, pulsating organism—the workshop explores how human touch can generate electrical signals that trigger audiovisual, auditory, and light responses. Microcontrollers (Arduino and ESP32), generative AI, and sensory interactivity will be covered.

BIO

Artist, researcher, and developer specializing in AI, machine learning, and IoT, he has worked for over 10 years with interactive art, generative systems, and sensory installations. He participated in the Artropocode residency (Spain) and the Spontaneous Combustion Residency (London), exploring cyberurban performances and locative media.

Pre(N)atura | Fonocene

CNDSD & Iván Abreu

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

Pre(N)atura | Fonocene – Mexico

Speculative audiovisual project inspired by postnatural studies, designed to explore the era of the Fonocene—a period where both human and non-human sounds define sensory experiences and interspecies interactions. In this narrative, Chthulucene beings, hybrid creatures, emerge to challenge traditional forms of communication, using listening as a tool to activate our awareness of interdependence. 

BIO

Iván Abreu is a Mexican-Cuban interdisciplinary artist who uses science, design and technology to create works that question human interaction and social systems. Malitzin Cortés, (CNDSD), is a Mexican artist who explores the intersection of sound, technology and speculative architecture. Her work combines live coding, audiovisuals and critical narratives. 

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.

Deep Field

Tin&Ed

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

Deep Field – United States

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

BIO

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

Gravicells
Gravicells puts the senses on edge. This installation produces a visualization and sonification of the force of gravity acting upon the visitor. Interconnected sensors continuously measure the visitor’s weight, movements and speed. The resulting data are converted into physical audio-visual experience by various media systems.

Autopoiesis

Autopoiesis ist eine Roboter-Skulptur-Installation, die vom Kiasma-Museum in Helsinki, Finnland, im Rahmen von Outoaly, der von Erkki Huhtamo 2000 kuratierten Alien Intelligence Exhibition, in Auftrag gegeben wurde. Sie besteht aus fünfzehn Roboter-Klangskulpturen, die mit der Öffentlichkeit interagieren und ihr Verhalten im Laufe der Zeit ändern . Diese Verhaltensweisen ändern sich aufgrund des Feedbacks von Infrarotsensoren, der Anwesenheit des Teilnehmers / Zuschauers in der Ausstellung und der Kommunikation zwischen den einzelnen Skulpturen. Diese Serie von Roboterskulpturen spricht über ein Computernetzwerk und hörbare Telefontöne miteinander, die eine musikalische Sprache für die Gruppe sind. Die Autopoese ist „selbstgemacht“, ein Merkmal aller lebenden Systeme, das von Francisco Varella und Humberto Maturana definiert und verfeinert wurde. Die Interaktivität bindet den Betrachter / Teilnehmer ein, der wiederum die Entwicklung und Entstehung des Systems beeinflusst. Dies schafft eine Systementwicklung sowie eine Gesamtgruppe skulpturaler Ästhetik. Autopoiesis bricht von Standardschnittstellen (Maus) und Wiedergabemethoden (CRT) ab und bietet eine interaktive Umgebung, die umfassend, detailliert und in Echtzeit entwickelt werden kann, indem Feedback und Interaktion von Zuschauern / Teilnehmern genutzt werden.

Silent Percussion
File Festival
The “Silent Percussion Project” (SPP) consists in building a set of computer musical instruments that use human gestures to control sounds, composing and performing with them in an attempt to re-incorporate the body in music performance practice. The “SPP” is a response to the question: what kinds of musical instruments does live computer music performance need? To answer this question it researches the aesthetic qualities and language of non-live electronic music, action-perception systems and new media theory to experiment new ways of bridging between gesture and sound. In that sense, the “SPP” looks to address the problem of sound control by introducing new sensing techniques that take advantage of our sensorimotor capabilities. The Silent Drum and MANO instruments analyze shapes made by hands and transform them into multiple streams of continuous data. These streams, or variables, are directly applied to sound control, avoiding the key paradigm. Continuous data is analyzed to extract discrete features of the signals. The variables resulting from analysis are interdependent, that is, changes in one result in changes in the others, creating complex systems that the performer learns by experimentation.