FILE LED SHOW 2013

1024 ARCHITECTURE

FILE FESTIVAL

The project consists of a podium with a microphone installed on the sidewalk of the Paulista Avenue, where people could interact through the vocal conversion into musical notes. The 1024 architecture group elaborated a brand new algorithm for this project, which changes the graphic behaviors by means of sounds. Depending on the note sung, several parameters of the program, such as colors, shapes and density.

1024 ARCHITECTURE

FILE LED Show

The art-technology exhibition of FILE São Paulo 2013 brings the new interactive work by the famous 1024 architecture group to be presented on the gigantic LED panel of FIESP building on Paulista Avenue. People could change the images on the panel through their voices or by humming a song.
The 1024 architecture group created the “interactive LED” digital graphic project for the Paulista Avenue, which will be presented from July 22 through August 18, 2013. The project consists of a podium with a microphone installed on the sidewalk of the Paulista Avenue, where people could interact through the vocal conversion into musical notes. The 1024 architecture group elaborated a brand new algorithm for this project, which changes the graphic behaviors by means of sounds. Depending on the note sung, several parameters of the program, such as colors, shapes, density, and rhythms (squares, circles, stripes, etc.), will change.

CASEY REAS

KTTV
This documentation video captures a few minutes of a continuous, generative collage. The source for the collage is one hour of edited signals captured from KTTV (198 – 204 MHz @ 34°13′29″N, 118°3′47″W) in August 2015.
The sound was created by Philip Rugo

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KTTV Cette vidéo de documentation capture quelques minutes d’un collage continu et génératif. La source du collage est une heure de signaux édités capturés par KTTV (198 – 204 MHz @ 34°13′29″N, 118°3′47″W) en août 2015.

Le son a été créé par Philip Rugo

 

MASAKI FUJIHATA

beyond pages

The data projector loads images of a leather bound tome onto a tablet which a light pen activates, animating the objects named in it – stone, apple, door, light, writing. The soundscore immaculately emulates the motion of each against paper, save for the syllabic glyphs of Japanese script, for which a voice pronounces the selected syllable. Stone and apple roll and drag across the page, light illuminates a paper-shaded desklamp; door opens a video door in front of where you read, a naked infant romping, lifesize and laughing, in.

Ei Wada

Toki Ori Ori Nasu – Falling Records

FILE FESTIVAL


In this work, open reel tape recorders are placed on top of high pedestals and, as they play back, the magnetic tape unspools down into plastic receptacle below. The tape that accumulates in the container piles up as time passes, weaving an unusual pattern in the space. When the tape stops accumulating it is wound back up at high speed to a symphonic soundtrack. The pattern that had existed until then is extinguished and a new pattern is then woven.

Dragan Ilic

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.

Actual Objects

Vicky
Vicky is an interactive film that tells the non-linear story of a future hurricane on the southern border of the United States in 2028. The narrative, which is augmented by sound design from Theo Karon, is spread across multiple screens, each of which houses a different character reflecting on the situation in different ways.

Amigo & Amigo

Affinity
Affinity is an immersive interactive light and sound installation inspired by the human brain. Each light globe represented a memory, as people approached Affinity different memories could be heard. When people touched the memory a light would trigger, the longer they touched the further their light would travel throughout the sculpture. Affinity features 62 different colour combinations and 112 points of interaction.

Alex Ekman

COW

Ekman talents extend to the lighting and stage design and his eye for structuring an environment is unerring. There is no set as such, excepting the plaster cow which dangles overhead, but the stage surface has its share of movement as little island-blocks rise up and pits sink down. The extreme tilting of the stage at one point causes unfortunate Bauch to roll, cow-like, almost into the pit. COW has its iconic Ekman moment in the scene that opens on a stage full of swirling dancers in white skirts set in a magical silvery mist. Mikael Karlsson, whose music partners the piece provides a subtle and evocative soundscape. He offers a hint of percussive rhythm picked up by the dancers who launch into an ecstatic dance: a stage full of whirling dervishes, until they collapse exhausted.

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Ekmans Talente erstrecken sich auf die Beleuchtung und das Bühnenbild, und sein Auge für die Strukturierung einer Umgebung ist unfehlbar. Es gibt kein Set als solches, außer der Gipskuh, die über ihnen baumelt, aber die Bühnenoberfläche hat ihren Anteil an Bewegung, wenn kleine Inselblöcke aufsteigen und Gruben sinken. Das extreme Kippen der Bühne an einer Stelle führt dazu, dass der unglückliche Bauch kuhartig fast in die Grube rollt. COW hat seinen legendären Ekman-Moment in der Szene, die auf einer Bühne voller wirbelnder Tänzer in weißen Röcken in einem magischen silbernen Nebel beginnt. Mikael Karlsson, dessen Musikpartner das Stück ist, bietet eine subtile und eindrucksvolle Klanglandschaft. Er bietet einen Hauch von perkussivem Rhythmus, der von den Tänzern aufgenommen wurde, die einen ekstatischen Tanz beginnen: eine Bühne voller wirbelnder Derwische, bis sie erschöpft zusammenbrechen.

 

ALWIN NIKOLAIS

Noumenon

A truly universal artist, the American Alwin Nikolais (1910-1993) devoted his life to a radical form of staged art he called “dance theater.” Inspired (perhaps unconsciously) by the experiments of Bauhaus members such as Oskar Schlemmer and László Moholy-Nagy in the 1920s, Nikolais devised a style of abstract dance that encompassed costumes, stage sets, choreography, lighting, and music, all under his control. Also in 1963, Nikolais met analog synthesizer pioneer Robert Moog, who was at the time just starting his business in New York. He was fascinated by the sounds of Moog’s machines, and with the money provided by a a Guggenheim Fellowship, Nikolais bought the first ever commercially produced Moog synthesizer. It was the primary sound-source for all of Nikolais’ scores from 1963 to 1975. The instrument is now housed at the Stearns Collection of Musical Instruments at the University of Michigan in Ann Arbor.

DI MAINSTONE AND TIM MURRAY-BROWNE

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.

THOM KUBLI

FILE SAO PAULO 2017
BLACK HOLE HORIZON
The nucleus of the installation is the invention of an apparatus resembling a ship horn. With the sounding of each tone, a huge soap bubble emerges from the horn. It grows while the tone sounds, peels off the horn, lingers through the exhibition space and finally bursts at an erratic position within the room.

COD.ACT

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.

VTOL

ADAD
This installation is a mechanism that serves as a kind of interface between planetary processes and an audience. It consists of 12 transparent piezocrystals, grown especially for the project, and 12 motorized hammers that strike them. The installation is connected to the internet. Its core algorithm is controlled by data from a meteorological site which shows lightning strikes in real time (on average, 10~200 lightning flashes occur on the planet every minute). Each time the installation receives information about a lightning strike, a hammer strikes one of the crystals, resulting in a small electrical discharge produced by the crystal under mechanical stress. Each of these charges activates a powerful lamp and sound effects.

liu chang and miao jing

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.”

SQUAREPUSHER

уфабулум
Soundcrash с гордостью представляет новатора электронной музыки – Squarepusher! Начав свои звуковые эксперименты в 1994 году, Squarepusher постоянно стремится раздвинуть границы и пределы электронной музыки. В мае 2012 года Squarepusher выпустил свое последнее музыкальное предприятие «Ufabulum», музыкальный альбом, созданный исключительно с помощью цифрового программирования, гарантируя, что его влияние на сегодняшнюю глобальную музыкальную электронную сцену как никогда важно. Для своего первого шоу альбома «Ufabulum» в Лондоне Squarepusher возьмет на себя исторический мюзик-холл Hackney Empire со своим крупнейшим световым шоу на сегодняшний день! Это уникальная возможность увидеть одного из пионеров электронной музыки в необычной обстановке.

Nicolas Bernier

frequencies (light quanta)

The project is part of an ongoing process entitled «frequencies», exploring basic sound and light dichotomic systems. Here, frequencies (light quanta) stems from a fascination towards science, light, and granular synthesis allowing to create clouds/grains of sounds. The conceptual focus lies in the quantum — the smallest measurable value of energy —, on the smallness of matter. The whole project is based on the possible conceptual relationships between basic quantum physics principles applied to the audio-visual creative process: particles, probabilities, wave/particle duality and discontinuity. Metaphorically structured around these notions, the audio-visual composition stems from 100 sound and light micro-sequences that develop themselves, generating an ever expending but yet disruptive form in time and space. With the use of randomness, the vectorial graphics are always creating new ways to look at the visual, physically superimposing pattern images.

FILE LED SHOW Neuroscientific-Installation

ouchhh

FILE FESTIVAL

FILE LED SHOW

saccade

Neuroscientific-Installation
We are invited to São Paulo for our vertical light and sound installation which will transform the facade of São Paulo’s one of the most important architecture which is Fiesp Led Building.
We started this project with the idea that Neuroscience and simultaneous movement of both eyes between two or more phases of fixation in the same direction algorithms, and we transform the high-resolution led screen into a media canvas which transformed into living architecture.

Daft Punk

Electroma
DAFT PUNK’S ELECTROMA IS THE EAGERLY ANTICIPATED DIRECTORIAL FEATURE FILM DEBUT FROM GUY-MANUEL DE HOMEM-CHRISTO AND THOMAS BANGALTER, BETTER KNOWN TOGETHER AS DAFT PUNK. A PSYCHEDELIC VISUAL AND MUSICAL ODYSSEY, ELECTROMA FOLLOWS THE JOURNEY OF TWO ROBOTS ON THEIR QUEST TO BECOME HUMAN. FEATURING A STUNNING SOUNDTRACK WITH MUSIC FROM TODD RUNDGREN, BRIAN ENO, CURTIS MAYFAIR, SEBASTIEN TELLIER AND CHOPIN, ELECTROMA PLAYS OUT BEAUTIFULLY ‘LIKE MUSIC FOR THE EYES’.

Jeremy Rotsztain

BECHA-KPACHA
BECHA-KPACHA is an algorithmic music video for the electronic musician COH. The song’s tittle (pronounced Vesna Krasna) was taken from an old Russian poem and roughly translates “Spring the beautiful”, though it can also mean “Spring the red.” The animation reference’s traditional Russian folk patterns, commonly known as Hohloma. In these patterns, colorful plant leaves expand and twist around one another while fruit grows along side. These patterns were a starting point for this sound-responsive animation.

INFINITE

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

Yann Marussich

Bleu Remix
In his spectacle-installation Bleu Remix, Yann Marussich returns to a theme originally explored in Bleu Provisoire (2001), a spectacle in which a mysterious blue liquid oozes through the layers of his skin as though it were the final effect or by-product of his body’s inner processes. In Bleu Remix, the artist once more invites the viewer to experience an intimate journey through the corners of his body. Each time the spectacle is performed, a different (local) musician accompanies Marussich. This unique, singular confrontation establishes a new relationship between the sound and image. The meeting of the two artists brings an element of risk and uniqueness to the event, as if the music explores the spectacle repeatedly, resulting in new ways of perception.

Baumgartner + Uriu Architecture

Supermassive Black Holes
Supermassive Black Holes is an acoustic ceiling installation for the main lobby of the Los Angeles Chamber of Commerce. The design is part of a series of projects in which we work with small primitives that are aggregated into a larger whole. In this case, there are over 10,000 felt cones stitched together into three gigantic, 20’ tall, hanging felt vortexes that that absorb sound through its materiality and geometry. The thousands of cone shape parts trap and disperse sound waves while softening the overall acoustic quality of the space.

Laura Splan

Disrupted Domains
Disrupted Domains features new animations created with molecular visualization software and SARS-CoV-2 structures displayed in Quorum at the Science Center. The animations were developed in remote collaboration with uCity Square biotech company Integral Molecular for Splan’s Science Center Bioart Residency while “sheltering in place” for COVID-19. The work in the exhibition is part of Precarious Structures, Splan’s project that explores the interconnectedness of cultural and biological systems during the coronavirus pandemic. Accompanying soundscape by Frank Masciocchi recorded in collaboration with Splan over Zoom.
VIDEO

Émilie Brout & Maxime Marion

Lightning Ride
“With Lightning Ride, it is now poles of technology, organics and mysticism that collide with  electricity as a connecting point. The video is produced from excerpts of “Taser Certifications”, a sort of ceremony authorizing in the United States the use of Tasers in the condition of being tased by someone else. Filtered with the Photoshop’s “oil painting effect”, slowed down and accompanied by a disturbing soundtrack, the succeeding images show us bodies and faces whose deformations and positions evoke a feeling of pain as well as a Christian ecstacy. Everything unfolds as if the miracle of electricity, symbol of the rationalization of the world, revived paradoxically an aspiration to transcendence, antipodes joining each other and disappearing in profit of a new map of possibilities.” (Sarah Ihler-Meyer)

Random International

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

Studio Stallinga

Heimweh
‘Heimweh’ displays the breaking of waves on a sandy beach fragmented across 12 screens. The waves and their sound move gradually towards the feet of the spectator. At one point the waves turn into a green haze. ‘Heimweh’ started as a reflection on earthly life by considering what most embodies being on earth. When traveling to Mars, for instance, the major missing element would be the sea. As the waves turn green, they deform, similar to memories that get blurred over time. When the green finally subsides, the clear sky and sea emerge again with a sense of relief.

Maarten Vos, Christopher Bauder, Boris Acket

SECHS
SECHS объединяет наследие Баха с современными техниками композиции и утонченной кинетической световой скульптурой, подчеркивая и переосмысливая его новаторство в симметрии, повторении и композиции. Вслед за одобренной критиками Wendy Carlos ‘Switched on Bach’ – первой электронной интерпретацией творчества Баха – и более поздних интерпретаторов, таких как Макс Рихтер для Вивальди, Acket & Vos представляют этот совершенно новый рендеринг одного из самых влиятельных в мире композиторы. Вместе с кинетической световой скульптурой Кристофера Баудера и новаторами пространственного звука 4DSOUND композиция превращается в ощущение пространственного погружения.

Doug Aitken

Sonic Mountain
As a unique site-specific commission for the Donum Estate, Los Angeles-based artist Doug Aitken has created the ethereal work Sonic Mountain (Sonoma), three concentric circles of suspended stainless-steel pipes whose differing lengths form a wave at their base, mirroring the free Euler-Bernoulli shape that describes the chime’s frequency. Installed in the eucalyptus grove, measuring forty-five feet in diameter and twice human height, and comprising 365 chimes — one for each day of the year — Sonic Mountain (Sonoma) works with one of Donum’s most persistent elements, the Carneros breeze that cools the grapes and creates a temperate zone for growing Pinot Noir. Each day, the warm wind begins its soft whisper, rustling through the vines and trees, building in strength through the day until mid-afternoon, and then gradually diminishing in force. Known to have been used since at least the ancient Roman period in Europe and the second century in India and China, wind chimes create chance, inharmonic music. At Donum, Aitken has teamed up with his friend the composer Terry Riley to compose chords in the chimes to be played by the wind , depending on how it blows, so the lyrical work sounds throughout the estate, demonstrating the artist’s practice of making installations that synthesize many media and are never constrained by tradition.
video

ROBERT HENKE


光正在使用高精度激光在屏幕上绘制连续的抽象形,并与声音完美同步。强烈的光线与完全的黑暗形成对比,缓慢的动作和微小细节的演化与强而有力的手势一样重要。结果既是古朴的又是未来主义的。新兴的模式为许多可能的解释留出了空间。象形文字,一种未知语言的符,建筑图纸,数据点之间的连接或类似Tron的早期视频游戏放大了1000

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Light

Light is using high-precision lasers to draw continuous abstract shapes on the screen, perfectly synchronized with the sound. Intense light contrasts with total darkness, and slow movements and the evolution of small details are as important as strong gestures. The result is both quaint and futuristic. Emerging models leave room for many possible explanations. Hieroglyphs, symbols in an unknown language, architectural drawings, connections between data points, or early video games like Tron are magnified 1,000 times.

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Lumière

La lumière utilise des lasers de haute précision pour dessiner des formes abstraites continues sur l’écran, parfaitement synchronisées avec le son. La lumière forte contraste avec l’obscurité totale, le ralenti et l’évolution des petits détails sont aussi importants que les gestes forts. Le résultat est à la fois pittoresque et futuriste. Les modèles émergents laissent place à de nombreuses explications possibles. Les hiéroglyphes, les symboles dans une langue inconnue, les dessins d’architecture, les connexions entre les points de données ou les premiers jeux vidéo comme Tron sont agrandis 1 000 fois.

ARTECHOUSE NYC

Celestial
Drawing on Pantone Color of the Year 2020 Classic Blue’s inspirational qualities, “Celestial” takes visitors on a journey beyond the skies. This technology-powered, multi-sensory installation transcends space and time— pushing the limits of our imagination and opening up a new realm of possibilities. Submerge yourself in the sights, sounds and sensations of Classic Blue.

Julian Scordato

Constellations
File Festival
FILE HIPERSONICA

This work begins from the exploration of an imaginary celestial space which is translated into sound space. How does each celestial sphere – starting from its manifestation as a unit – interact with the cosmos where it belongs? How does it react to its law? How does it transform itself integrating with the system, until the loss of identity? In contrast to this process, the constellations act by highlighting the bodies in their uniqueness through the creation of symbolic links: beyond their meaning, they stand as a classification and articulation device of the individual within the system.
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Questo lavoro parte dall’esplorazione di uno spazio celeste immaginario che si traduce in spazio sonoro. In che modo ogni sfera celeste – a partire dalla sua manifestazione come unità – interagisce con il cosmo a cui appartiene? Come reagisce alla sua legge? Come si trasforma integrandosi con il sistema, fino alla perdita di identità? In contrasto con questo processo, le costellazioni agiscono mettendo in evidenza i corpi nella loro unicità attraverso la creazione di collegamenti simbolici: al di là del loro significato, si pongono come dispositivo di classificazione e articolazione dell’individuo all’interno del sistema.

CHRISTIAN BOLTANSKI

基督教波尔坦斯基
בולטנסקי
クリスチャン·ボルタンスキー
Кристиан Болтански

Homage

R.I.P 1944-2021

Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”

Kris Verdonck

IN
In IN (2003) an actress remains motionless for an hour in a display window filled with water. The distortion to her senses caused by the environment she is in makes her go into a trance. The sounds of her breathing and movement are amplified by microphones.

BJOERN SCHUELKE

Bildverarbeitungsmaschine
Björn Schülke ist von den kinetischen Skulpturen des deutschen Klangkünstlers Peter Vogel und Jean Tinguely beeinflusst und schafft komplexe vom Betrachter aktivierte Maschinen, die Bewegung, Überwachung und Klang kombinieren.

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Björn Schülke é influenciado pelas esculturas cinéticas dos artistas sonoros alemães Peter Vogel e Jean Tinguely e cria máquinas complexas ativadas pelo espectador que combinam movimento, vigilância e som.

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Björn Schülke is influenced by the kinetic sculptures of the German sound artists Peter Vogel and Jean Tinguely and creates complex machines activated by the viewer that combine movement, surveillance and sound.

Kurt Hentschlager

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

SQUAREPUSHER

Ufabulum
Soundcrash are proud to present the electronic music innovator that is Squarepusher! Beginning his sonic experiments in 1994, Squarepusher constantly strives to push the boundaries and limits of electronic music. In May 2012 Squarepusher unleashed his latest musical venture ‘Ufabulum’, an album of music generated purely from digital programming, ensuring his influence within today’s global music electronic scene is as vital as ever. For his first headline ‘Ufabulum’ album show in London, Squarepusher will take over the historic music hall Hackney Empire with his largest ever light-show to date! This is a unique opportunity to witness one of electronic music’s pioneers in an extraordinary setting.

Tromarama

Madakaripura

Digital image projection, software, real-time internet-based data, and sound
Installation shot at St. Saviour Church, London
Tromarama is an art collective founded in 2006 by Febie Babyrose, Herbert Hans and Ruddy Hatumena. Engaging with the notion of hyperreality in the digital age, their projects explore the interrelationship between the virtual and the physical world. Their works often combine video, installations, computer programming and public participation depicting the influence of digital media on the society perception towards their surroundings. They live and work between Jakarta and Bandung.

Daft Punk

Interstella 5555

Daft Punk’s Interstella 5555: The 5tory of the 5ecret 5tar 5ystem is a 2003 Japanese-French animated science fiction film and the visual realization of Discovery, the second studio album by Daft Punk. Interstella 5555 tells the story of the abduction of an interstellar pop band. The film was produced by Daft Punk, Cédric Hervet and Emmanuel de Buretel with Toei Animation under the supervision of Leiji Matsumoto. The film has no dialogue and uses minimal sound effects.

cinema full

GAYBIRD

梁基爵
Digital Hug
File Festival – Hipersonica
The project is in collaboration with Henry Chu, Adrian Yeung, Thomas Ip, Joseph Chan, XEX GRP, and Hamlet Lin. It started from the fabrication of digital hubs but it turned out to make you feel like having an intimate hug, such is the chemistry coming from the new media performance “Digital Hug”. GayBird and his group of “musical frankensteins” developed a series of unconventional custom-made musical instruments and a responsive sound installation, which are played in complement to interactive video-mapping images and animation. Digital Hug emphasizes “new instruments for new music”, with the aim of bringing a unique and performative live electronic music performance to viewers.

Collectif Coin

Abstract
Movement, sound and light interweave in Abstract. It presents a repeating 20 minutes loop inspired by the concept of relativity. Time can be perceived as a vertical dimension in which the pixels travel. This movement will be used to freeze time while the audience keeps their feet firmly on the ground.

BILL VIOLA

The Raft
The Raft depicts at life-sized scale a group of ordinary people casually standing together. Suddenly, they are struck by strong blasts of water that rush in, overtake them, and then, just as unexpectedly, recede. In the aftermath of the deluge, the victims huddle together, seek protection, and help those who have fallen. The viewer experiences this event in an immersive setting, standing in a darkened room and surrounded by the roaring sounds of the water. Meticulously captured in slow-motion, The Raft arouses a visceral experience of human calamity and shared humanity, provoking a consideration of the range of responses to crisis.

AURÉLIEN BORY

PLEXUS
Aurélien Bory is a Toulouse-based choreographer working at the intersection of dance, circus and visual art. In Plexus, he encloses the Japanese dancer Kaori Ito in a forest of tensioned vertical cables. It’s as if she’s in a transparent cuboid cage. We can see her, but her image is blurred by the shimmer of Arno Veyrat’s lighting as it moves across the cables. Ito strains against these confines, writhing, flailing and hurling herself against the cables. Every sound is hugely amplified, so with her every movement we are assailed by a high-tensile jangling and groaning. At intervals she subjects her environment to furious challenge, racing backwards and forwards within the limited inner space so that the cage rocks on its axis. At other times she positions herself between the cables so that they bear her weight, and hangs there like an exhausted insect, faintly articulating her limbs.

Ai-Da

“Poem for an artificial intelligence”

the sun is a beautiful thing

in silence is drawn

between the trees

only the beginning of light

this realm of rain

grey sky and cloud

it’s quite and peaceful

safe allowed

And, arguably, worse:

I am a coal-truck

by a broken heart

I have no sound

the sound of my heart

I am not

kyttenjanae

Soft as Snow

Soft as Snow, auch bekannt als Oda Egjar Starheim und Øystein Monsen, Norwegens beste Anbieter von ungewöhnlichem, kristallinem Pop, sind mit einer brandneuen Veröffentlichung zurück. Die 4-Track-EP “Chrysalis” ist die zweite Originalveröffentlichung des Duos nach ihrem Debüt 2014 – die EP “Glass Body”, die auch als “Glass Body Remixed” veröffentlicht wurde, eine beeindruckende Sammlung überarbeiteter Versionen von Lucy, Gabe Gurnsey von Factory Floor, Maria Minerva und Brian DeGraw von Gang Gang Dance: „Chrysalis ist hart, direkt, frei, emotional. Es bringt uns zum Tanzen, Verbinden, Explodieren. “ – Weich wie Schnee Der Anfangstrack „I Adore“ zeichnet sich durch abrasive Synthesizer und schimmernde Beugungen aus, während sich „Fluid“ von glasiger Zurückhaltung zu einem Synth-Freak-Out entwickelt. “Mouth” ist eine bedrohliche Absichtserklärung, alle Stammes-Percussion und Ur-Yelps, die an die beunruhigende Produktion von Mica Levis Soundtrack für “Under The Skin” erinnert. Die EP geht mit dem energiegeladenen, skitternden “Her Blood Is Gold” zu Ende, wobei Odas seltsame, jenseitige Stimme alles zusammenhält.

TUNDRA

Nomade
Inspiriert vom Konzept der digitalen Nomaden des 21. Jahrhunderts und basierend auf verschiedenen Stücken und Algorithmen aus TUNDRAs früheren hochgelobten audiovisuellen Installationen, die weltweit von den USA bis nach China uraufgeführt wurden, bringt NOMAD die polare Atmosphäre verschiedener ortsspezifischer TUNDRA-Installationen in eine zufällig wechselnde Abfolge von visuellen Themen und Mustern, ausgelöst durch live gespielten Sound.

Shiro Takatani

ST/LL
ST/LL opens on a stage with a long set table, perpendicularly to the orchestra, under the eyes of the audience; on the sides of the table there are some chairs. On the background, coinciding with the inner extremity of the table, there is a projection screen developing vertically, like a painting that evokes the Japanese pictorial tradition. The perimeter of the stage is covered with a veil of water, in which everything reverberates. The whole visual structure of the work develops all around this diaphanous dimension. A man enters the scene and carries out actions on the table: he moves the cutlery, changes the position of the chairs, makes tiny gestures, which let the audience foretell that an action played on the visible will develop. To the sound of a metronome, two women and then a third one enter the scene and sit at the table making gestures that imitate a meal without food.

Nonotak

Versus
Elaborated by the French/Japanese duo Nonotak, ‘VERSUS’ is an immersive A/V experience that questions the relationship between 360° image and sound. The viewer finds himself submerged, at the centre of a perfectly geometric environment that constantly redefines space by breaking distances between projection, audience and screen. The work gives the illusion of a new type of architecture, a world created from distortions that shatter boundaries, and that brings the idea of infinity.

hyungjoong kim

Data.Nature.Anagenesis_2

I am working for audio-visual arts, performance, media installation, computational visual design and sound. Probably this is why I am considered to be a media artist whatever but in fact, I judge myself as a media addict. By using the materials, I love to make creations with a concept of ‘(beauty+despair)/2’ of our future, which has no boundaries between nature, technology and human being.

Michele Spanghero

Dià
Dià (from greek διά, through) is a sculpture installed on a piece of no man’s land on the top of mount Pal Piccolo on the border between Italy and Austria, where World War I was fought. The double-trumpet shaped sculpture symbolically connects, both visually and acoustically, the first lines’ trenches. Two arched doors, that refer to the entrance of the shelters and trenches, turn into cavities to listen or observe the surrounding landscape. The work, conceived as a symbolic link between the two fronts, combines the dimensions of silence and sound: dià is indeed a device that invites audience to interact with the two cavities as a megaphone or a peephole, to start an intimate dialogue through the sculpture.

Daniel Rozin

Troll Mirror
The mechanical mirrors are made of various materials but share the same behavior and interaction; any person standing in front of one of these pieces is instantly reflected on its surface. The mechanical mirrors all have video cameras, motors and computers on board and produce a soothing sound as the viewer interacts with them. Troll Mirror was commisioned by Traget and is made of pairs of pink and blue troll dolls. Every troll doll pair can rotate so that the pink or blue troll face the front. The result is a colorfull reflection of the viewer’s outline and playfull colorfull transitions

Zilvinas Kempinas

Waves
WAVES is an attempt to return to basic experiences provided by light and sound. The intersecting waves of ligh and sound are creating a multi-layered spectrum, which allows us to experience ourselves and others as different wavelengths: either intertwining or dissolving.

Olivier Ratsi

Frame Perspective
Measuring 30m x 30m x 2.4m and featuring LED lights and 8 audio channels, Frame Perspective transforms a cavernous space at the Maison de la Région. On specific dates throughout the Constellations festival Ratsi has prepared a light programme in the space, accompanied by a sound composition played by Thomas Vaquié (see the festival programme for more details). Frame Perspective continues Ratsi’s interrogation of reality through the creation of exploratory and peripheral spaces. The installation’s repeating forms create new dimensions in the Maison de la Région, interrupting the lines of the architecture. Meanwhile the composition of interacting lights and sounds disrupts the sonic and visual textures of the space and resonates with the visitor on uncharted frequencies. The effect is to immerse the visitor into a fluctuating environment which connects digital technologies with physical spaces and raises questions about how reality is constructed and experienced in digital, physical and other realms.

Marshmallow Laser Feast

In the Eyes of the Animal
In the Eyes of the Animal, a journey through the food chain, is an artistic interpretation of the sensory perspectives of three British species. Created using Lidar scans, unmanned aerial vehicles (UAVs) or drones & bespoke 360° cameras, the piece is set to a binaural soundscape using audio recordings sourced from Grizedale Forest in the north of England.

Nick Verstand

Aether
AETHER is an audiovisual live performance using spatial sound and light, designed location specific for each iteration. Walls of materialized laser light surround the artists while constantly reshaping the environment, organically modulating synchronous to the surrounding sound.

Tundra

Nomad
Inspired by the concept of digital nomads of 21st-century and based on various pieces and algorithms from TUNDRA’s previous highly acclaimed audio-visual installations premiered across the globe from USA to China, NOMAD brings the polar atmosphere of different TUNDRA site-specific installations into a randomly changing sequence of visual themes and patterns triggered by live-performed sound.

Anna Sokolova

ONE SHAPE, ONE SQUARE, ONE EXECUTION, ONE TRANCSENDENCE
ONE SHAPE, ONE SQUARE, ONE EXECUTION, ONE TRANSCENDENCE consolidates three quotations from the writings by the minimalist artist and philosopher Ad Reinhardt. The works in question are “Abstract Painting, Sixty by Sixty Inches Square”, “On Negation” and “There is just one painting”, a fragment of which has been taken as a work title. The text “On Negation” is turned into sound and used to cause the vibration of the black square plane that has the same dimensions as “Abstract Painting” by Ad Reinhardt.

Jonna Kina

Arr. for a Scene

“The sonic force of cinema’s most famous murder scene is investigated.Two foley artists recreate Hitchcock’s shower sequence, deconstructing the associations of aural signifiers, and the synesthetic power of sound. Jonna Kina contextualize this uncanny phenomenon — the “trans-sensory” quality of sound – within both Kina’s oeuvre, as well as other historical and contemporary works inside and outside the realm of art. In Arr. for a Scene (2017), Kina explores the structures and forms of cinematic sound – transforming an iconic image — the horrific shower scene in Alfred Hitchcock’s Psycho (1960) – into the sonic frequencies of quirky, seemingly innocent, domestic objects.” Melissa Ragona

 

quadrature

Credo

A radio telescope scans the skys in search of signs of extraterrestrial life.
The received raw signals serve as input data for a neural network, which was trained on human theories and ideas of aliens. Now it tries desperately to apply this knowledge and to discover possible messages of other civilizations in the noise of the universe. Mysterious noises resound as the artificial intelligence penetrates deeper and deeper into the alien data, where it finally finds the ultimate proof.The sound installation revolves around one of the oldest questions of mankind – one that can never be disproved: Are we alone in the universe?

Stefan Tiefengraber

TH-42PH10EK x 5
Five screens were installed by the artist as pendulums that swing continuously. As soon as all five have come to a standstill, they are pulled back into their original positions with the help of cable winches and are made to swing again – triggered by pulling a rip cord, a performative act that cannot take place without human intervention and which involves the exhibition supervisor in the installation. Each cycle, which lasts approximately 45 minutes, ends as soon as all five screens have come to a standstill and no more sound is produced by their movement. The sound is produced by the amplification of the friction to which the joints of the moving pendulum are subjected. Multiplication thus creates five oscillating loops that merge into one another with a time offset.