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.

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.

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.

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.

ЭСТЕР СТОКЕР
에스더 스토커
以斯帖施特克尔
In addition to painting on the usual canvas, Esther Stocker creates her minimal abstract work on entire rooms and structures. The Italian artist has been creating her black and white installations and wall works since 2001, which have been exhibited all over the world. Esther uses stark geometric lines to create a shaken sense of depth perception and spatial uncertainty in the eyes of the viewer, to which she simply explains: “Control is always what we do not have. This is the human condition.”

file festival 2019
‘Tempo: cor’(Time:color) consists of an immersive installation that seeks to modify our experience of time by converting hours into color. A set of chromatic clocks, each set to a different GMT time zone, projects, in a semicircle, the current time in their mathematical and chromatic representations. The conversion between these two forms of time representation is based on an algorithm composed of sinusoidal functions that modulates the RGB colors as a function of the current time, gradually modifying the intensities of blue, green and red throughout the day: at midday yellow predominates, while at four in the afternoon the hour is red; midnight is blue, six o’clock in the morning is green. Side by side, the colors projected by the clocks merge, creating an immersive experience of a continuous and circular time, between the different time zones, that crosses the entire chromatic spectrum. This installation is part of a series of works in which I investigate the relationships between human notations and codes and our experience of space-time, seeking to change the ways we understand it; in this case, visitors immerse themselves in a spatial experience of time that provokes the questioning of notations and perceptions that we usually consider axiomatic. Changing the way we represent time will change our way of experiencing it?

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.

top shot helmet
The Top Shot Helmet alters one’s spatial perception. Wearers see themselves from above and must guide their movements and orient themselves from this perspective. The device consists of a round helmet, above which floats a helium balloon attached to the helmet with strings. The balloon carries a small video camera operated by radio signal, which points downward with a wide-angle lens. The view captured by the camera is projected onto a pair of video glasses in the helmet. Wearers of the helmet can only see the image produced by these glasses and must use this to make their way through a given space. By moving the head, the person wearing the helmet can turn and tilt the balloon and camera. A handle on the helmet makes it possible to adjust the height of the balloon and thereby adjust one’s field of vision.

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.