The Call for Entries to participate in FILE – Electronic Language International Festival’s projects in 2024 is now open. The festival seeks original artworks in Art and Technology, by Brazilian and international artists. Registration remains open until February 10th. Access the registration form.

FILE is a non-profit cultural organization that has propagated creation and experimentation in Art and Technology through exhibitions, events and publications over 23 years. This call opens up the opportunity to participate in the 23rd. Edition of the Electronic Language International Festival, which is scheduled to take place at the FIESP Cultural Center, in São Paulo. The selected projects will also be able to collaborate in parallel events in different states in Brazil.

Using the registration form, it is possible to send interactive installations, sound art, video art, robotics, animations, CGI videos, virtual realities, augmented realities, mobile art, games, gifs, internet art, lectures and workshops, among others. To participate in the LED SHOW programm, exhibited annually at the FIESP Digital Art Gallery, register using the form. Sign up!

FILE FESTIVAL

FILE LED SHOW

saccade
OUCHHH STUDIO
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.

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.

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.

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.

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.

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.

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.

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.”

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.

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.

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?

Threshold Release Ornament
MSHR is the art collective of Birch Cooper and Brenna Murphy. The duo collaboratively builds and explores systems composed of sound, light, sculpture, software and circuitry. Their practice is a self-transforming cybernetic entity with its outputs patched into its inputs, the resulting emergent form serving as its navigational system. These outputs primarily take the form of installations and performances that integrate interface design with generative systems and a distinctive formalist approach. MSHR’s name is a modular acronym, designed to hold varied ideas over time. MSHR emerged from the art collective Oregon Painting Society in 2011 in Portland, Oregon, USA.

The Hive  Kew Gardens

“The proposal involves the idea of ​​’temporary’ in an interesting way. It uses the temporary aspect of the installation to carefully engage with the purpose and short and long-term needs of the land,” said the judges. Originally designed for the Expo 2015 from Milan, The Hive was transferred to Kew Gardens, in central London, for two years, where it was part of an event space. Designed to give visitors a glimpse into the life of working bees, the pavilion was built with 169,300 individual aluminum components equipped with hundreds of LED lights. As the meadow surrounding the structure grows, several species of plants begin to flourish, bringing with them the sounds of real bees that enhance the multi-sensory experience of the pavilion.The aesthetic and symbolic installation represents its namesake, with the aim of showing visitors the importance of protecting the honeybee.

LIEBHABER (LOVERS)
Computergesteuerte Fünfkanal-Video- / Toninstallation mit fünf Videoprojektoren, einem Achtkanal-Soundsystem und Diaprojektoren […] Als Bild  schlägt ein Liebespaar häufig eine Burg der Ausgrenzung vor. Mit der sexuellen Befreiung der letzten Jahrzehnte hat das Wort nun mehr mit körperlicher Kopplung zu tun als mit der Erhabenheit der „wahren Liebe“. AIDS hat dieser Paarung eine neue Dimension der Vorsicht hinzugefügt. Die lebensgroßen Tänzer in Lovers haben kein Leben mehr. Die nackten Figuren werden auf die schwarzen Wände eines quadratischen Raums projiziert und haben eine spektrale Qualität. Ihre Bewegungen sind einfach und sich wiederholend. Sie gehen hin und her, laufen und rennen mit tierischer Anmut. Ihre Handlungen werden im Laufe der Zeit vertraut, so dass es eine Überraschung ist, wenn zwei der durchscheinenden Körper in einer virtuellen Umarmung zusammenkommen. Diese angeblichen Liebhaber – mehr überlappend als berührend – sind physisch nicht miteinander verflochten.

Bittersweet tea symphony
Sound installation with 200 kettles boiling, vibrating, steaming. People come and go whenever they like.

Dimensional Sampling
Dimensional Sampling (Series) is a digital contemporary art project started by Cao Yuxi Studio in 2019. The core concept of the project is based on the digital totem of the era totem represented by the QR code image style, and further re-examine the digital age of the new era. This AudioVisual version installation is collaborative project that created with Hong Kong based sound artist Lawrence Lau.

Re Rain
“Re-rain” is a sound installation expressing non-visible elements such as gravity, magnetic force, and sound as physical elements. This installation is created with the sound of rain sampled in Japan early spring of 2016.The sound of raindrops hitting an umbrella are recorded, and is then played back from a speaker. The umbrella is set on top of a speaker, and the vibration of the speaker is transmitted through the umbrella to make a sound. For example, an umbrella cannot vibrate if the magnetic force of the speaker is small or if the rain hitting the umbrella is either too high or too low in pitch extent. For this reason, this is a device picking out a state in which the magnetic force of the speaker, weight of the umbrella, and pitch extent of sound are all in a balanced state. Natural phenomena such as rain travels through an object and is emitted as sound to the air..

Until I die
This installation operates on unique batteries that generate electricity using my blood. The electric current produced by the batteries powers a small electronic algorithmic synth module. This module creates generative sound composition that plays via a small speaker. The blood used in the installation was stored up gradually over 18 months. The conservation included a number of manipulations to preserve the blood’s chemical composition, color, homogeneity and sterility to avoid bacterial contamination. The total amount of blood conserved was around 4.5 liters; it was then diluted to yield 7 liters, the amount required for the installation. The blood was diluted with distilled water and preservatives such as sodium citrate, antibiotics, antifungal agents, glucose, glycerol etc. The last portion of blood (200ml) was drawn from my arm during the performance presentation, shortly before the launch of the installation.

Oil
The main idea of this project is to present exhibition visitors with the chance to destroy any object that might happen to be on their person, in order to transform it into a unique sound composition. The installation consists of five hydraulic presses, capable of crushing practically any object (a mobile telephone, pair of glasses, headphones or whatever). In the process of destruction, a special microphone records the sounds made as the object undergoes deformation, and in just a few minutes, a computer algorithm transforms them into a 20 minutes album.

尤里铃木
يوري سوزوكي
Garden of Russolo
‘Garden of Russolo’ is an interactive sound installation by Yuri Suzuki allowing visitors to have a sonic experience using their own voice. The auditory installation, shown at the V&A during the 2013 London design festival, is based on Suzuki’s previous series of sound-activated work ‘white noise machines’. Influenced by futurist painter and composer Luigi Russolo – one of the first experimental composers – the series of phonograph-like wooden boxes compose the exhibition, re-interpreting audio inputs into a muffled atmospheric output, twisting and amplifying the original soundtracks.

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
our time

Our Time (2016) is the latest large-scale installation by United Visual Artists investigating our subjective experience of the passing of time. How long is a moment? At what rate does time actually pass? The work joins a series of kinetic sculptures that began with Momentum (2013); an installation designed as a ‘spatial instrument’ that was to reveal the relationship between expectation and perception when intersected with a physical space.
Our Time defines a physical environment where pendulums swing at a pace apparently unhindered by the laws of nature and where no single time measurement applies. The installation combines movement, light and sound as a multi-sensory, multi-dimensional canvas the visitor can enter. Pendulums swing, each to their own rhythm, as time flows through the grid. With light tracing the path and sound its echo, the passing of time becomes almost palpable.

Amethyst
Amethyst initially was created as a site-specific installation with images and sound. Slowly dissolving slides reminisce the process of decay. The automated slideshow is projected in a dimly lit but richly decorated room, the visual style of the imagery referring to fashion photography. I created this work on the occasion of Salon/1, by whom I was invited to show my work in Museum van Loon during the Amsterdam Fashion Week 2010.

Clavilux
Clavilux 2000 is a subtle music visualization installation that represents the playing of sounds by way of a simultaneous animation that can be interpreted. For every note played on the keyboard, a stripe appears of which the dimensions, position and color correspond to the way the particular key was stroke.

Cliff Hanger

Jeff Shore and Jon Fisher started their collaborative practice in 2002. Trained as a visual artist, Jeff Shore develops the visible sculptures and mechanisms, while Jon Fisher builds the electronics, writes the software, and creates the original soundtracks; for this he uses both digital and analog audio sources. The result of their collaboration is a series of kinetic devices and installations that generate live animated video and musical compositions. Similar to cinema storytelling, the movement in the pieces relate to the accompanying soundtrack or animation, and similar to a theater of automata, the pieces create precise and captivating sequential events. Bridging high and low-tech devices and instruments, the collaborative team creates mechanically activated moments of wonder, explores the relationship between automatism and chance, and comments on the impact of technology interfaces in our lives.

Conservation of Intimacy

Made of pine, latex, music wire, copper, nylon line, paper, pens and video surveillance. It measured 20′ x 35′ x 26′ at Southern Exposdure.
A couple rocking on the bench sends air pulses to another room causing balls to move and pens to transcribe their motions onto paper. The paper is moved by a third person on a stationary bike. The couple on the bench can watch the balls on a video monitor before them where the balls appear to bounce into the air. The motion is delayed and languid as though under water. Action is best when the couple is moving slowly together.As visitors work together to animate the mechanisms, they create a theatre for themselves and each other. By encouraging participation, and touch the pieces coax visitors to engage their bodies as well as their minds. The way that pieces move and feel and sound as you rock them, pedal, crank and press against them applies the kinesthetic comprehension’s of childhood to the tasks of philosophy.Bernie Lubell’s interactive installations have evolved from his studies in both psychology and engineering. As participants play with his whimsical wood machines, they become actors in a theater of their own imagining.

Everything Was Forever, Until It Was No More

Konrad Smoleński represents Poland at the Venice Art Biennale 2013. His monumental installation in the Polish Pavilion in the Biennale’s Giardini is titled Everything Was Forever, Until It Was No More. The work is a continuation of the previous explorations of Konrad Smoleński, who focuses his interest on sound. Two church bells that have been cast especially for this exhibition are at the center of the installation. Two walls of loudspeakers and other elements complete the work. In regular intervals, the traditional bronze bells, full-range speakers and other sonorous objects play a symphony. The create both a visual and aural experience, where the delaying and modifying of the initial sound of the bell is important. The exhibition Konrad Smoleński: Everything Was Forever, Until It Was No More is curated by Daniel Muzyczuk and Agnieszka Pindera.
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Public Epidemic Nº 1 (Bacterial Orchestra)
Олле и Любке
FILE FESTIVAL

“Bacterial Orchestra” (2006), a self-organizing evolutionary musical organism where each cell lives on an Apple iPhone (it can be ported to any mobile phone, but the iPhone was chosen because it’s popular and the centralized App Store makes it easy for the epidemic to spread). That way, hundreds of people can gather with their mobiles and together create a musical organism. It will evolve organically in the same way as “Bacterial Orchestra”, but it will also be much more infectious. The installation and the ideas behind it can be traced from different areas such as chaos theory, self-organizing systems and neural networks. The goal? A world wide sound pandemic, of course.

الكسندر بونوماريف
АЛЕКСАНДР ПОНОМАРЕВ
A PARALLEL VERTICAL

Chapel Saint Louis, de la Salpetriere, Paris
Installation
Periscope installation with a cable suspension system. Metal, plastic, video optic system, acrylic spheres, sound wave generators.
The keystone artistic project of the Paris Fesitval d’Automne will be realized in September 2007, at the Salpetriere chapel in the center of Paris. A 36-meter periscope hanging from the dome forms a rigid vertical, equipped in the lower part with the head of the periscope with an ocular allows any viewer to look at the Parisian horizon, expanding vision in the spectacular spaces of the cathedral. The real-time video image is broadcast on closed-circuit television to chambers, offices and other buildings attached to the chapel of Salpetriere hospital. The patients, doctors and staff have the opportunity to take in the unexpected view point of the random viewer and peek past the horizon. This project has been organized by the French Ministry of Culture and the Energy of Art Foundation, Moscow

Electrical Walks

Christina Kubisch was born in Bremen in 1948. She studied painting, music (flute and composition) and electronics in Hamburg, Graz, Zürich and Milano, where she graduated. Performances, concerts and works with video in the seventies, subsequently sound installations, sound sculptures and work with ultraviolet light. Her compositions are mostly electroacoustic, but she has written for ensembles as well. Since 2003 she works again as a perfomer and collaborates with various musicians and dancers.

فلوريان هيكر
フロリアン·ヘッカー
Sound Installation
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.

Coronado
File festival
“Coronado” was inspired by a visit to the Coronado beach in California, which was an awe inspiring moment never experienced in other beaches. The soundscape present in Coronado seemed to be coming from all directions with layers and layers of sound waves. I decided then that I would make a sound work to translate this experience. The sound installation is characterized by the interplay of the analog and digital sound sources which layers over one another, exploring the idea of a seascape. The center of the installation is an ocean drum controlled with mechanical arms that creates and simulates the sound of sea waves. This is picked up by the microphone, reprocessed through the computer and sent out to the 6 channel surround speakers in different time. The interplay and sense of endlessness in the layering the analog and digital are my interpretation and response to the wonderment I found in Coronado.