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.

STRANGE PROJECTORS #448 DREAMING

Brandon Eversole

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

Strange Projectors #448 Dreaming – United States

Video is treated as a physical material. Frames are stacked and remapped into volumetric space, allowing time to be cut into and reshaped. Dreaming introduces a fluid, current-like motion in which forms move through a stream of images. Recorded footage is transformed into spatial structures that exist between moments.

BIO

Brandon Eversole is a visual artist based in San Francisco, working with moving images, treating time as something that can be shaped. He stacks frames, remaps footage into volumetric space, and cuts through time to shape moving images as form. His work has been exhibited on the Salesforce Tower in San Francisco and presented internationally through exhibitions and collaborative projects.

PLANET GARDEN

Studio Lifeforms

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

Planet Garden – United States

Planet Garden is a real-time interactive world exploring the convergence of artificial intelligence, ecology, and planetary imagination. The project invites visitors into a speculative environment where technology becomes a medium for sensing, caring for, and rethinking the Earth as a living system.

BIO

Studio Lifeforms is a Los Angeles-based studio founded by Damjan Jovanovic and Lidija Kljakovic. Working across games, simulation, architecture, and moving image, the studio creates speculative worlds that explore the relationship between technology, ecology, artificial intelligence, and new forms of spatial imagination.

ECHOVISION

Jiabao Li & Botao Amber Hu

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

EchoVision – China

What is it like to be a bat? EchoVision is a mixed reality art experience that simulates echolocation, immersing participants in the perceptual world of bats. Exhibited in a natural habitat, it shows mixed reality’s potential to foster empathy for non-human species. The work explores eco-phenomenological mixed reality, opening paths for ecological education and more-than-human perspectives through embodiment.

BIO

Botao “Amber” Hu is a social computing researcher and experiential futures designer. He creates projects using social mixed reality and directs the Reality Design Lab, exploring soma, speculative design, and spatial computing.

Jiabao Li is an artist and Associate Professor at Northeastern University. Formerly at UT Austin and Stanford, she creates works on climate, interspecies co-creation, and perception using AR/VR, wearables, robots, performance, and installations.

OPERATOR

Fun and Awe

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

Operator – United Arab Emirates

OPERATOR is an XR music production tool for Apple Vision Pro. Inspired by industrial design and architectural models, it allows for an intuitive interactive experience that is closer in its mechanics to arranging the building blocks than it is to using the audio production software. The app uses the language of simple spatial interactions and moves away from the traditional flat-screen experience — each created composition exists as a sculpture integrated into a real space through the XR mode.

BIO

A studio with a diverse experience that includes artists, engineers, writers, and designers, they build applications, design interactions, and develop concepts for XR that are focused on humans and our shared experience. Our boutique-sized team, founded by designer and director Maxim Zhestkov, explores the possibilities of the XR medium independently and in collaboration with brands.

BIOVOLT

Yves Peitzner

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

BIOVOLT – Germany

BIOVOLT is an interactive light installation that explores the relationship between human interaction, technology, and electricity. The 15-meter structure, composed of LED strips, responds to touch and movement, symbolizing the connection between human energy and electrical power. Participants influence the installation through motion sensors, highlighting the synergy between human intention and technology.

BIO

Munich-based artist, creative director, and educator. His practice explores how data, human interaction, and environmental conditions take spatial form in responsive installations and sculptural environments. He works across exhibitions and spatial experiences, often collaborating with studios, brands, and cultural institutions. Using light, sound, moving image, and computational media, he creates works that explore how we perceive and experience the world.

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.

MIMICROCOSMOS

Lepša Studio

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

MiMicrocosmos – Czech Republic

Interactive installation inspired by a world that we normally see only under a microscope. It is a physical game with a childish design that, when rotated, transforms the installation into a playful and intuitive experience.

BIO
Lepša Studio is a creative collective that brings together fine art, scenography, spatial design, and contemporary technology. The studio was founded in 2026 as a new creative project building on the team’s long-standing collaborative experience. The studio’s key principles are originality, experimentation, interdisciplinary collaboration, and a focus on site-specific work. The creators of the MiMicrocosmos installation are Josef Lepša, Jiří Rouš, Marek Volf, and Michal Vrba.

PUPPET

1024 Architecture & Vitalic

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

Puppet – France

Puppet is an innovative audiovisual installation that merges gaming mechanics with live music composition. At the crossroads of videogame and digital instrument, this interactive piece invites visitors to manipulate a puppet-like character that functions as a sound synthesizer. Each movement or gesture of the puppet triggers a corresponding musical element—melody, rhythm, or effect—allowing the participant to compose a track in real time. 

BIO
1024 operates at the crossroads of art and architecture, combining spatial practices, digital technologies, and visual creation. Designing architectural and digital works, 1024 orchestrates partitions of sound and light in space through computer codes.

FILE 2026

Augmented and Virtual Reality Festival: brings together immersive practices in simulated three-dimensional environments and expands the perception of reality through the superimposition of digital layers onto physical space.  The works use mobile devices, glasses, and spatial interfaces to insert virtual objects, narratives, and data into the real world or transport the public to sensory and interactive digital universes. These languages ​​challenge the boundaries between the material and the informational, exploring subtle or monumental interventions, creating multidimensionality in the environment. Issues of presence, body, narrative, memory, surveillance, and technological mediation are central, configuring a fertile field of aesthetic and critical investigation into contemporary ways of inhabiting and perceiving 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

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.

朱利安·奥利弗
줄리안 올리버
ג’וליאן אוליבר
ジュリアン・オリバー
Джулиан Оливер
Levelhead
FILE FESTIVAL
LevelHead is a spatial memory game. The game takes its inspiration from the “Philosphical Toys” of 18th/19th century Europe and the memory systems (“memory loci”) of the ancient Greeks. levelHead uses a hand-held solid-plastic cube as its only interface. On-screen it appears that each face of the cube contains a little room, each of which are logically connected by doors. In one of these rooms is a character. By tilting the cube, the player directs this character from room to room in an effort to find the exit. Some doors lead nowhere and will send the character back to the room they started in, a trick designed to challenge the player’s spatial memory. Which doors belong to which rooms? There are three cubes (levels) in all, each of them connected by a single door. Players have as a goal to move the character from room to room, cube to cube, in an attempt to find the final exit door of all three cubes. If this door is found, the character will appear to leave the cube, walk across the table surface and vanish. Then the game starts over.

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.

LOKI

Jia-Rey Chang

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

Loki – Taiwan

Loki is an interactive AI artwork inspired by the mischievous Norse god. Unlike obedient AI, Loki responds playfully and unpredictably, reflecting users’ attitudes—arrogance meets sharpness, modesty earns encouragement. It prompts critical thinking about AI’s reliability, biases, and neutrality. By engaging with Loki, users explore whether AI can truly be trusted. Dare to question!

BIO

Jia-Rey Chang is an artist/designer/researcher/educator focusing on immersive spatial interaction design. Received his Ph.D. in interactive architecture at TU Delft and is now a lecturer in the Medialab at Queen’s University Belfast UK investigating Games/Emerging Technologies in his creative research, crossing creative coding, speculative design, AI, and VR.

www.archgary.com

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.

Aquarela de Íons

Arthur Boeira e Gustavo Milward

FILE SÃO PAULO 2025: SYNTHETIKA – Arte e Tecnologia
Festival Internacional de Linguagem Eletrônica

Aquarela de Íons – Brazil

Aquarela de Íons is an artwork-device that translates solar flares and magnetic activity cycles into forces within the exhibition space. Inspired by satellites, the sculpture captures real-time data of solar activity, creating a data-driven artwork that reacts to the presence of viewers in an immersive and generative environment. The system translates spatial information into sound, light, and image, establishing an interface between the cosmos and human territory. The piece invites reflection on the impact of space weather—an aurora borealis brought to life, transforming astronomical data into an aesthetic experience.

BIO

Arthur Boeira has been conducting transdisciplinary research since 2015, exploring the philosophy of science and technology as applied to artistic practices. Gustavo Milward (Drawlim) specializes in interactive art and algorithmic narratives, investigating the relationship between body, space, and code.

Keigo Matsumoto, Yohei Yanase, Takuji Narumi & Yuki Ban
FILE FESTIVAL 2018
“Unlimited Corridor ” é um sistema de VR que permite a experiência de percorrer um vasto mundo virtual num espaço físico estreito, manipulando a percepção espacial. Esta obra utiliza uma técnica chamada andar visual-háptico redirecionado que utiliza a incerteza da percepção espacial humana e a interação entre visão e senso háptico.

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“Unlimited Corridor” is a VR system that allows the experience of traversing the space of a vast narrow physical virtual world, manipulating spatial perception. This work uses a technique called redirected visual-haptic spatial walking that utilizes the uncertainty of human perception and the interaction between vision and haptic sense.

CAPACITIVE BODY
file festival

The installation “capacitive body” is a modular light system that reacts to the sound of its environment. Each custom-built module consists of an electro-luminescent light wire linked to a piezoelectric sensor and a microcontroller. Through its modular setup it can easily be adapted to various urban spaces. The sensors are used to measure vibrations of architectural solids in a range of low frequencies. These oscillations are triggered by surrounding ambient noise, for example traffic noise. The data sensor controls the light wires, which are tensed to a spatial net structure. According to the values of the measurement, light flashes are generated. With increasing vibrations the time between flashes becomes shorter and shorter. The stability of this nervous system gets to an end where it collapses and restarts again. A dynamic light space is thereby created, which creates a visual feedback of the aural activity around the installation.

Reimagine Social Distancing: Interactive Art for Post Pandemic Cities
Un jour dans la vie des grandes villes, des millions d’étrangers passent à quelques centimètres les uns des autres – dans les stations de métro, les trottoirs, dans les rues publiques. Nous sommes un réseau d’étrangers se déplaçant si près que cela devient parfois une expérience déshumanisée. Dans ces instants fugaces passés dans des espaces interstitiels, nous nous trouvons détachés de l’état présent où nous sommes parmi l’essaim humain. Cette installation explore comment les villes surpeuplées influencent notre sens de l’espace personnel, à travers un environnement interactif en temps réel qui suit nos données spatiales. Il examine comment nos barrières mentales sont fluides, adaptables et finalement destinées à être brisées, de sorte que notre sens de l’espace est élargi grâce à l’interaction avec les autres.

Chimes
Chimes is an interactive, audio-reactive experience that translates the sound of a room into digital wind, setting in motion an exploration of space, music and time. The installation invites the viewer to surrender to the interplay of spatial sound, touch, air, movement and noise and to discover ever new facets in a constantly changing environment.

Present Shock
Present Shock confronts the viewer with a barrage of statistical clocks representing real-time information about the world—from life-changing global events to the banal trivia of everyday existence—highlighting how the speed and volume of data in the Information Age present new challenges to our limited cognitive apparatus. Many of the statistics presented occur at timescales and spatial horizons that similarly defy our perception or comprehension. Disturbing the inertia of the here and now, they reveal the fluctuating state of dynamic transformation that characterizes life on earth.

FRAMERATE
Created from thousands of daily 3D time-lapse scans of British landscapes, the work observes change on a scale impossible to see with the lens of traditional cameras. This is not just an artwork. The data collected and presented by FRAMERATE is ground-breaking scientific research, containing empirical, measurable facts. We glimpse a future perpetually documented by the eyes of a billion autonomous vehicles and personal devices, creating high fidelity spatial records of the earth.

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.”

Light High
The installation LIGHT HIGH is aimed at guiding the perception through targeted acoustic and visual phenomena into border areas in which ambivalent experiences set in and the habitual experience of space is abolished.[…] A mirrored ceiling together with a thin reflecting surface of water on the ground and a grid arrangement of lights are creating the spatial illusion of an infinite vertical space of light and darkness. By traversing a small bridge, the visitor can cautiously discover the immersing endlessness beneath his/her feats and above his/her head.

Thermotaxis
file festival
The term “Thermotaxis” signifies a movement of a living organism in response to heat stimulation. A thermal spot has power to encourage people to gather together like open fires in winter or water places in summer. The work “Thermotaxis” characterizes the open space as invisible thermal spots by providing people with thermal information. Our work aims to create a new spatial structure for communication not by architectural approach but by using information technology.

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.

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.

LIGHT

“Helen Pashgian is a pioneer and pre-eminent member of the California Light and Space Movement. Her signature forms include columns, discs and spheres in delicate and rich coloration, often with an isolated element suspended, embedded or encased within. Pashgian’s innovative application of industrial epoxies, plastics and resins effect semi-translucent surfaces that simultaneously filter and contain illumination. Activated by light, these sculptures resonate in form and spatiality, both inner and outer.” Dimitris Lempesis

SECHS
SECHS brings Bach’s heritage together with modern composition techniques and a refined kinetic light sculpture – emphasizing and re-interpreting his innovation in symmetry, repetition and composition. Following the likes of Wendy Carlos’ critically acclaimed ‘Switched on Bach’ — the first electronic interpretation of Bach’s work — and later re-interpreters such as Max Richter for Vivaldi, Acket & Vos present this completely new rendering of one of the world’s most influential composers. Together with the kinetic light sculpture by Christopher Bauder and spatial sound innovators 4DSOUND the composition is translated to a spatial immersive experience.

ISS Tracker
L’ISS Tracker suit en temps réel la Station Spatiale Internationale dans sa course autour du monde, en suivant son orbite et en pointant du doigt sa position dans le ciel à tout instant. Un projet inspiré par ma fascination pour l’espace, qui a toujours stimulé l’imagination de l’espèce humaine. Un hommage à la prouesse technique que représente l’ISS, et aux astronautes à son bord. Il faut environ 92 minutes à la Station Spatiale Internationale pour faire le tour de la Terre. L’ISS Tracker se base sur les paramètres orbitaux à deux lignes, ou TLE (pour Two-Line Elements), pour déterminer l’orbite de la station et calculer sa position. L’azimut et l’élévation sont ensuite calculés par rapport aux coordonnées GPS de l’observateur, la date et l’heure, afin de définir la direction à pointer. La position de l’ISS est recalculée toutes les 10 secondes et la direction pointée par la main de l’ISS Tracker est mise à jour.

Dromos

Dromos is a metaphoric AV Performance that takes its concept from the philosophical work of P. Virilo who is mostly known for founding the idea of Dromology (science of speed). Dromos invites audience to a criticism experience of the ’peed’ role that impacts all aspects of our daily lives. During 40mns, it focuses people attention on this essential factor that shapes our world. With its message, Dromos invites you to wonder about your relationship with progress. It’s an unconventional work with an original sensorial approach, placing the audience inside an immersive environment.

10 colonnes
Son travail le plus récent, simplement intitulé «10 colonnes», inaugure Bridge Projects en transformant l’espace d’exposition de 7 000 pieds carrés à Hollywood en un lever / coucher de soleil synthétique […] Smith a programmé les diodes électroluminescentes de chaque panneau pour faire défiler un séquence d’une heure de couleurs. La palette est baroque de l’ère spatiale, ses primaires et secondaires dotés du zing artificiellement amélioré de tertiaires délicieusement mélangés.

The Last Supper Alive
File Festival
A six minute video installation that brings to life the famous late 16th century work by Leonardo Da Vinci. The slight movements of the figures enhance the choral nature of the Last Supper, with a very measured and meticulous direction that overcomes the fixity of the painting adorning the wall of the refectory of the Convent of Santa Maria delle Grazie in Milan, bringing it back to life and providing it with a new spatial context.

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.

Spektrum
SPEKTRUM is an interplay of light, music and the performers. The use of projections in a theatrical context was a very pleasant experience for us, for when projections are used indoors, they can be controlled so precisely that amazing changes of perspective are possible. Once the stage is perceived as a platform, once as a white cube, once the spatial perception itself is completely challenged. As the three different elements of the performance merge into one unified language, SPEKTRUM is able to be many things at once: playful and yet fierce, touching and yet disturbing. Less a narrative than an emotional and sensory experience SPEKTRUM challenges the mind of the spectator in a quite a poetic way.

Kinematope
Kinematope is specific twice over. First, for being formulated as a response to the perceptual qualities and inner structure of the place it activates. Second, its kinematic nature is directly connected to the function of the train station itself: transit, transport, motion. Kinematope uses ephemeral and intangible materials, projected light and sound, to set the space in motion. It makes use of elements from the cinema apparatus to generate a spatial film. It is a direct filmic experience that omits the mediation of the camera, transporting the observer into a virtual space-time and maintaining at the same time the real, physical bonds of the body with its environment.

Spectrum
How intensely can you experience colour? Colour as a phenomenon which you don’t just see, but which totally absorbs… Spectrum is a spatial installation that makes colour tactile and tangible.
Fall backwards into a black hole and reawaken in an infinite spectrum. An immersive experience which will give you a whole new perspective on the coloured cycles of our everyday light. Following Blaas and Curve, Spectrum completes a triptych centred on white space, each piece created with spatial designer Cocky Eek in collabaration with Schweigman&. In Blaas you crawl through an inflatable balloon; in Curve you enter an endlessly spiralling tunnel. Spectrum starts by asking: how can we make the colour physically tangible?

Rising Awareness
Could one succeed in rising the level of awareness by sharpening one’s perception rather than repeating the vapid catchphrase, “raising awareness,” which has been coopted by an ever-growing money-raising industry that fails to improve our circumstances in a substantive way? Wearing a cocktail dress, I assembled a large kinetic structure made of wooden beams and ladders in front of the audience. I then walked and balanced on the twenty-foot wide structure at eight feet off the floor. Rising Awareness addresses my ongoing preoccupations about the physicality of experience, inhabiting the body, proprioception as the possible strongest sense of self, how spatial awareness correlates with overall awareness and self-awareness, how physicality enhances creativity, finding balance between gravity and groundlessness, a concept of happiness as the fullest expression of one’s particular cognitive potential, pushing boundaries, and the current irreverent politics of liability.

Globale Surveillance
Nous vivons dans un monde sous surveillance : plus personne n’oserait en douter. Mais quelle forme prennent aujourd’hui les nouveaux dispositifs de contrôle et en quoi sont-ils différents des pratiques du siècle dernier ? Comment modifient-ils notre rapport au monde et aux autres ? Vont-ils jusqu’à menacer le droit à la vie privée ? Globale Surveillance dresse une zone spatiale hypersurveillée, à l’intérieur de laquelle acteurs et spectateurs sont soumis à quantité de procédures de traçabilité rendues visibles, a contrario de nombreux mécanismes quotidiennement à l’œuvre et marqués par le phénomène angoissant de l’invisibilité.

Liminal Scope
Liminal Scope is an immersive light and sound installation, in which three rings frame the transit of light through space. The audiovisual score enmeshes harmonic frequencies, rhythmic motion,
and gradients of color, orchestrating a narrative which navigates tension and release. Our form of reality is mutually constructed by our perceptions along with their limitations. The installation’s rings form an aperture that focuses and reveals a spatial quality of light, which usually remains unseen. Liminal Scope is a meditation on these perceptual limitations as they
relate to our shared and individual perspectives on reality.

Spectra-3
The piece is the latest instalment of their ongoing Spectra series, a merging of physical and virtual sculptures that take inspiration from space, technology, and our relationships to them, to provide elegant and sensory experiences using sound, light, and reflection. Spectra-3’s design and movement is inspired by the radio telescopes of the Very Large Array (VLA) located on the Plains of San Agustin in New Mexico. The piece combines computer-aided design with real-time input from the public’s movements, to inform its physical actions as it rotates on motors, augmenting the space with the enchanting hues and patterns of reflected light and spatialized sound.

T4T LAB
RADICAL RAUMPLAN
The real but withdrawn qualities of the raumplan of the Muller House can be understood as the unknown excess of the object. This is the space of the architectural project that exists beyond the limits of human cognition. Although this space is finite, it is vast and abundant. Any attempt to enter into this space must be somehow framed. As a metaphor, or a vehicle to frame the unknown excess, we take in part the idea of viewing, which is epistemologically important to the raumplan. Using this framework, our project attempts to go beyond our cognitive limitations and enter into the unknown space of the architectural project. From here, we can extract new spatial phenomena that can be notated into the known layer, to be understood by the architectural audience. For us, this means using a series of metaphors to frame our exploration of the unknown and attempt to extract new phenomena that engage the raumplan independent of its relationship to a human subject. This allows us to operate in a jective framework, allowing for an understanding of the object autonomously.

Sounds of Silence
Inside the exhibition, there’s not a word of written text, and few traditional photos or videos. Instead, you get abstract spatial graphics. Tracking systems respond as you navigate the exhibit, and an unseen voice hints at what you might do. There’s a snowy cotton-like entry, radio-like sound effects, and then a pathway to explore silence from the start of the universe until this century.

bow chair
designed by Zaha Hadid Architects, Ross Lovegrove and Daniel Widrig

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The artist creates an unprecedented visuospatial system that transforms the historical museum and its viewers alike.Visitors are kindly invited to touch and move the black metal and glass elements of the artwork.The built environment is inhabited through an array of inputs and outputs. Our bodies set in motion invisible chains of cause and effect. Enter a room: lights turn on. Turn a handle:a door opens. This relay is modulated through system controllers, devices programmed to respond to moving bodies and aural commands. Buried within walls, floors and ceilings, building networks are a black box.

OCULUS
OCULUS: A Spatial Experience Based on the Interaction of Architecture and Media Arts
An audio-visual performance based on a selection of HAS Architects works interpreted by NOHlab and Buşra Tunç
A selection of HAS Architects’ projects is presented in a performance that blends digital technology with spatial design, forming a synthesis between the past and the present within the magical atmosphere of the historical Single- Dome Hall of the Imperial Arsenal.
Taking the Single-Dome Hall as the focal point, the exhibition uses contemporary interpretations to alternate between old and new, whole and fragment, real and virtual, balanced and unbalanced states. Notions of time and space become blurred and the exhibition surrounds the visitors, offering them an unusual spatial experience.

Fiberbots
FIBERBOTS is a digital fabrication platform fusing cooperative robotic manufacturing with abilities to generate highly sophisticated material architectures. The platform can enable design and digital fabrication of large-scale structures with high spatial resolution leveraging mobile fabrication nodes, or robotic ‘agents’, designed to tune the material make-up of the structure being constructed on the fly as informed by their environment.

Particle Waves
“Particle Waves” is a kinetic sound sculpture comprising of a 4×3 grid of 12 individual kinetic bowls. Within each bowl contains tiny metal beads of various sizes, creating “noises“ as the bowl rotates in various angles. The noise from a single bowl forms collectively to become a soundscape, reminding us of waves and oceans. The bowls are arranged in a 4×3 grid and controlled as a whole by a microcontroller running a wave algorithm. This creates a continuous wave-like kinetic motion over the grid, at the same time creating a spatialized soundscape. This installation is a continuous attempt of exploring the correlation between sound and nature.

Latent Space
In Latent Space fine lines weave virtual spaces around the viewers. The architecture that manifests is highly fragile — the space grows, shrinks, collapses. The acoustic dimension is also deeply spatial — slowly morphing soundscapes float around the dome, enveloping the observers in sound and image. The omnipresence of the virtual realm is transposed into the physical space of the dome to unmask the often proclaimed boundlessness of digital space. The work tests and investigates the spatial effects of the dome, which serves as a metaphor for the virtual net that always surrounds us.