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.

483 Lines
The artwork 483 lines magnifies this analogue video picture until it is 16 meters wide, and then folds this image several times so that it fits vertically into the gallery space, therein adding oscillations of depth into the image which can be activated by ‘tuning’ the projected video to match these waves. The strictly arranged lines can be illusionary, creating a confusing architecture of horizons, whilst the video played through it displays a parallel past, present and future.

Paradoxal Sleep
File Festival
O projeto “Paradoxal Sleep” integra uma série de obras na qual grandes cubos robotizados, medindo 2,25 m3, funcionam como estruturas flutuantes usadas como plataformas para vários projetos multimídia e performances. No FILE 2012, a equipe da NXI GESTATIO apresentará um único cubo que irá se mover nos espaços expositivos. O cubo reajustará constantemente sua posição medindo a distância entre as paredes ao redor.

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The “Paradoxal Sleep” project integrates a series of works in which large robotic cubes, measuring 2.25 m3, function as floating structures used as platforms for various multimedia projects and performances. At FILE 2012, the NXI GESTATIO team will present a single cube that will move in the exhibition spaces. The cube will constantly readjust its position by measuring the distance between the surrounding walls.

VANGELIS
R.I.P
Horizon
In amongst the rings of confusion
Silencing the thought powers one by one
It seems all so incredible
Our own ability to confuse – to sacrifice
To enlighten like a shakespearian play
We foolish and happily hold on to sanity
While all around the pushing feelings
The twisting and turning of our hearts
Displaying an almost indefinable strength
Of purpose – a reason a reason a reason
Where no reasons seems to exist
Yet, as in a vision, a voice transcending
All our imagination, jewel of life
Guiding light heralding a joyous new dawn
Clear and gifted time
Divine nature – super nature
The supreme gift of knowledge and space
In this cacophony of life
Peace will come

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.

Underwater Pavilions
Underwater Pavilions is artist Doug Aitken’s large-scale installation produced by Parley for the Oceans and presented in partnership with The Museum of Contemporary Art, Los Angeles (MOCA). The work consists of three temporary underwater sculptures, floating beneath the ocean’s surface that swimmers, snorkelers, and scuba divers swim through and experience. Geometric in design, the sculptures create underwater spaces synthesizing art and science as they are constructed with carefully researched materials and will be moored to the ocean floor. Part of each structure is mirrored to reflect the underwater seascape and create a kaleidoscopic observatory for the viewer, while other surfaces are rough and rock-like. The environments created by the sculptures will constantly change with the currents and the time of day, focusing the attention of the viewer on the rhythm of the ocean and its life cycles.

Vortexture
Vortexture puts forward an architecture that is agile, activity-based and challenges our ideas of organization and static typologies. Materializing permeant physical form – it is a space that is constant fluctuation. There is no final typicality; it’s an architecture in a process that regenerates and adapts with the change in space and time. Vortexture is a proposal for a new work environment simulated and tested via agent models and developed as a new kind of the urban district as a creative industry hub. Vortetute is time-sensitive. Vortexture is season sensitive. On weekdays, the office orients itself to create a user interface that is productivity-based, while during the weekend, the floor plan reshuffles itself to enhance creativity-based plan allowing more communal areas and meeting zones.

Futures
Futures uses the optical illusions created by light, sound and mirrors to transport audiences to a place where good things have happened and the future we want exists now. Futures is an immersive space in which audiences experience illusions that can reveal everything from how they process space and time to their perception of consciousness. It is a modular light installation that takes a number of forms. It is shown here as a walkway of mirrors and lights, tunnelling inwards towards a vanishing point.

A gate between illusion and reality. An invisible border between the inside and the outside. The walk-in installation IF exaggerates both subjective and objective sensory and spatial perception, offering time to find ourselves and position.

OCULUS
Oculus was a site-specific installation designed for Istanbul Design Biennale in 2016, and exhibited in Tophane-i Amire. 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.

vertical emptiness (organic parabola)
Onishi Yasuaki uses wire, glue line and crystallized urea for this installation. The wire makes organic parabola line from the ceiling. He dripping glue through it, and vertical thin glue line is connecting our ground. Crystallized urea appears on glue line and wire. Empty space are filing some phenomena which is gravity, time, action, heat, crystallization. We can discover new landscape in it.

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.

DAYDREAM V.02

DAYDREAM is an audiovisual installation that generates space distortions. Relationship between space and time, accelerations, contractions, shifts and metamorphosis have been the lexical field of the project. This installation aimed at establishing a physical connection between the virtual space and the real space, blurring the limits and submerging the audience into a short detachment from reality. Lights generate abstract spaces while sounds define the echoes of virtual spaces. Daydream is an invitation to contemplation. The frontality of the installation leads the visitors to a passive position.