QUBIT AI | quantum & synthetic ai
Electronic Language International Festival

July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

Swing Time

SWING TIME est un espace de jeux interactif composé de 20 balançoires en forme d’anneau lumineux. L’installation active un parc temporaire entre le Boston Convention and Exhibition Center et D Street pour créer un espace public expérimental. Fabrication sur mesure à partir de polypropylène soudé, les balançoires sont conçus en trois tailles différentes de sorte que les spectateurs peuvent participer, le but de l’exercice, est de jouer avec SWING TIME à titre individuel ou en groupe.L’éclairage LED au sein de la balançoire est contrôlé par un micro-contrôleur personnalisé, signalisant le niveau d’activité de la balançoire. Un accéléromètre interne mesure les forces d’accélération de l’oscillation. Lorsque les forces sont statiques et les fluctuations ne sont pas utilisés, ils émettent une lumière douce, blanche qui éclaire la zone. Lorsque les balançoires sont en mouvement, le micro-contrôleur allume la lumière du blanc au violet, en créant un effet lumineux coloré.

Difference and Repetition
The title references Deleuze’s thesis ‘Difference and Repetition’ – his attempt to understand reality without referring to identities. The artists aim to ‘unidentify’ the audience – to criticize the bubbles of reality which technology has helped us to build around ourselves. By allowing ourselves to remove our identity occasionally, we can better understand the thoughts of those we disagree with and therefore better work together to build a combined reality. Difference (in both senses) is generated by the motion control system which continuously changes the pose of the mirrors relative to the viewer. This movement disrupts space itself, creating a transformation similar to that of a Lorentz transformation when one travels close to the speed of light. This causes space itself to compress, twist and break, giving the viewer a tool for observing the non-absolute nature of time.

Marsha
Marsha is a AI SpaceFactory’s NASA-award-winning design and prototype for a 3D printed Mars habitat. The prototype was printed nearly autonomously in 2019 within a 30-hour construction window. “Our 3D print technology uses a recyclable biopolymer composite which outperformed concrete in NASA’s strength, durability, and crush testing. ASTM lab tested and certified to be two to three times stronger than concrete in compression, our space-grade material is also five times more durable than concrete in freeze-thaw conditions.” Ai-Spacefactory

キムチアンドチップス
Light Barrier
Kimchi and Chips create phantoms of light in the air, crossing millions of calibrated beams with their work Light Barrier, 2014. The light installation creates floating graphic objects which animate through space as they do through time.

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

The Cage of Time

FILE 2024 | Installations
International Electronic Language Festival
Interactive installation that presents a kinetic instrument object and virtual reality glasses, functioning as a device that animates the illusion of the passage of time in virtual space. In the fabric of existence, time weaves a cage around our ephemeral moments, limiting our perceptions of the past, present and future. By embracing this paradox, we may discover that the cage of time becomes the crucible where the alchemy of experience transforms our understanding of existence.

Bio

Anna Vasof is a multi-award-winning artist who focuses on filmmaking, short videos, and time-based sculptures. VRinMotion is an artistic research project based at St. Pölten University of Applied Sciences in Austria that investigates how features of stop-motion animation and motion capture can be combined with virtual reality to enrich current artistic discourse.

Credits

VRinMotion Team: Franziska Bruckner, Christoph Schmid, Clemens Gürtler, Matthias Husinsky, Christian Munk, Julian Salhofer, Stefan Nebel, Vrääth Öhner.
Concept by: Anna Vasof.

Everything Before, Everything After

FILE 2024 | Installations
International Electronic Language Festival
Seph Li – Everything Before, Everything After – China and UK

A digital installation features a winding river in the style of Chinese painting, symbolizing time and transition. Touch screens allow visitors to paint over it, altering its course unpredictably. The river embodies history and the future, with each trace contributing to its eternal flow through space and time. Recorded interactions ensure its perpetual existence.

Bio

Born in Beijing in 1988, Seph Li has a mixed background in technology and design, and his keen interest in interactive artworks led him to the field of media arts. Seph studied computer science and entertainment design at Tsinghua University and continued his master’s study in design/media arts at UCLA. Seph currently resides in London, United Kingdom; he creates interactive artworks as well as technical experiments with other production studios.

Speculative Evolution, Prototype 1

FILE 2024 | Installations
International Electronic Language Festival
Speculative experiment on a future ecosystem under strict control. The narrative takes place in a simulation, 30 years in the future, where artificial intelligence and synthetic biology collaborate to optimize an environment for cultivated species. An AI-powered simulator helps visitors generate new species to balance the ecosystem. Inspiration comes from the book Under the White Sky by Elizabeth Kolbert and artists’ stories about life on a damaged planet.

Bio

Marc Lee is a Swiss artist focused on real-time rendered audiovisual installations, AR, VR and mobile applications, critically exploring creative, cultural, social, ecological, political and speculative themes. His work has been exhibited in important museums and new media art spaces. Shervin Saremi is an Iranian musician and audio engineer specializing in sonic computing, procedural sound design and production. Currently researching immersive audio at UdK Berlin.

Space Odyssey 2002

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Valentin Rye – A Space Odyssey 2002 – Denmark

This video offers a surrealist take on futuristic sci-fi concepts from the 60s and 70s. Imagine a future colonization of Mars where interior design is given an avant-garde twist. It was created by brainstorming visual ideas, generating countless images, refining the best ones and assembling them into clips. After careful selection, these clips have been organized into a cohesive timeline, accompanied by atmospheric music to enhance the overall experience.

Bio

Valentin Rye is a self-taught machine whisperer based in Copenhagen, deeply passionate about art, composition and the possibilities of technology. He has been involved in AI and neural network image manipulation since starting DeepDream in 2015. While his IT work lacks creativity, he indulges in digital arts during his free time, exploring graphics, web design, video, animation and experimentation with images.

The Legend of Ogie

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
SurrealismToday.com – The Legend of Ogie – United States

What worlds exist beyond Einstein’s speed limit? Inspired by Eric Weinstein’s theory of Geometric Unity, the work explores the idea that space-time is like a melody playing over an eight-dimensional universe. Abstract and metamorphic forms transition from organic forms to parastatic patterns, creating a dance of visuals and sounds that merge into an immersive experience of fractal unfolding.

Bio

SurrealismToday.com is an artist collective and educational platform dedicated to the proliferation of surreal and visionary ontologies in contemporary art. The group began as an esoteric cargo cult dedicated to discovering the beautiful, the fantastic, and the transcendent in the pseudo-philosophical landscape of the art world. His methods include searching for gems in the digital world and infusing mystical enchantments into generative diffusion models.

Stealth Technology of Ancient, Cosmic Pantheons

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – Stealth Technology of Ancient, Cosmic Pantheons – Austria

An abstract painting in motion, with colors and shapes exploding and transforming to the rhythm of the music. The dynamic element is not trapped in a static image, but can unfold in time and space.

Bio

Using Stable Diffusion, a visual synthesizer, the artist turns fantasies into videos using just a PC, similar to the invention of printing 600 years ago. Exploring the interplay between software algorithms that create visual worlds and the artist’s mind guiding this process is incredibly exciting. Unlike traditional cinema, there is no ‘reality’ or humans involved, making it a satisfying medium for creating visual art.

Credits

Visuals: Michael Sadowski
Music: Stealth Technology of Ancient, Cosmic Pantheons by The Intangible

Nature Morte
Nature Morte focuses on Nauman’s long relationship to his own studio, a variation on his four unique multi-projection videos, Mapping the Studio (2001). Three viewing stations, each consisting of an iPad linked to a wall-sized projection, provide an interactive exploration of the 3D studio space. Only now the artist is absent, and the participant becomes performer as he/she manipulates the large scale video projections on an iPad using touch control. The participant is free to navigate anywhere throughout the space, selecting broad vistas or individual objects. Using a hand-held 3D scanner, Nauman recorded hundreds of images that allow participants to select an object and locate close-up anything found there, and further reorient the image to see an object from above and below, and at times inside-out. The resulting mobility intensifies the experience of the viewer/performer. Presenting a static, but immersive re-creation of his studio space, Nauman’s pieces once again play at the tenuous lines between the body and space, perception and physical material.

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.

.

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.

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.

ニコラ·シェフェール
Chronos 5
In 1948 he created the concept of “space dynamism”. In his words, space dynamism is “the constructive and dynamic integration of space in plastic work.” Based on this idea, he will seek to create the total work of art, concretized in the cybernetic village, a city full of utopian spaces. His work combines cybernetic, kinetic art and interactive art, of which he is one of its first representatives, making the first works of art in real time or live in the history of art.

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.

ダグエイケン
道格·艾特肯
new horizon
Doug Aitken was born in California in 1968. He lives and works in Los Angeles and New York. Widely known for his innovative fine art installations, Doug Aitken is at the forefront of 21st century communication. Utilizing a wide array of media and artistic approaches, his eye leads us into a world where time, space, and memory are fluid concepts.

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.

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.

Quantum memories
Quantum Memories is Refik Anadol Studio’s epic scale investigation of the intersection between Google AI Quantum Supremacy experiments, machine learning, and aesthetics of probability. Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. Quantum Memories utilizes the most cutting-edge, Google AI’s publicly available quantum computation research data and algorithms to explore the possibility of a parallel world by processing approximately 200 million nature and landscape images through artificial intelligence. These algorithms allow us to speculate alternative modalities inside the most sophisticated computer available, and create new quantum noise-generated datasets as building blocks of these modalities. The 3D visual piece is accompanied by an audio experience that is also based on quantum noise–generated data, offering an immersive experience that further challenges the notion of mutual exclusivity. The project is both inspired by and a speculation of the Many-Worlds Interpretation in quantum physics – a theory that holds that there are many parallel worlds that exist at the same space and time as our own.

Work in progress
The motionless figure of an androgynous giantess occupies almost the entire gallery space in her entangled posture. On its body and around it, small scaffolding grows upwards. But the construction site is deserted. Only the figure, which resembles an avatar, remains in a calm state. A state of “being in between”. Between day and night. Between dream and reality or even between life and death? It almost seems as if the figure is still being brought back to life. One is inclined to think of Mary Shelley, whose novel character Victor Frankenstein created an artificial human being 200 years ago – in a time of great upheaval and discovery. Today we find ourselves once again at a turning point in society and technology, which makes us question ourselves as well as platforms on which we construct our selfs… Is that what Evelyn Bencicova and Enes Güç are alluding to here?

Hertzian Landscapes
Hertzian Landscapes (2019) is a live visualization of the radio spectrum. Unlike visible light, waves in the radio spectrum cannot be perceived by us directly yet this space is teeming with human activity. Hertzian Landscapes employs a digital receiver to scan large swaths of radio spectrum in near real-time and visualizes thousands of signals into a panoramic electromagnetic landscape. Users can zoom in to specific frequencies by positioning themselves in front of the panorama as if controlling a radio tuner with their body, giving them a sense of walking through the spectrum.

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.

LUMEN
LUMEN is an artwork which expresses our ever changing relationship and perception of space and time. The sculpture will be installed in Taiwan in 2022. It expresses in form, light and sound the ever changing star-scape above Taichung. Using a live NASA feed from the sun, a bespoke light and sound system will express the live energy of the sun and the real time positions of the stars above Taichung on and in the sculpture.

Flow Through

“Flow Through takes as its departure point Bahar Yürükoğlu’s experiences during her travels to the Arctic Circle in 2015, both in the summertime, when the sun doesn’t set, and during the winter months, when darkness prevails. In the exhibition, the artist creates fictional spaces based on the dualities she observed in the Arctic region; blurring the boundaries between presence and absence, past and future, nature and civilisation, as well as cyclical movements and inevitable transformations, these installations, photographs and videos test the viewer’s perceptive capacities, and demand that the dichotomy between the subject and the object is set aside”. Duygu Demir

Het Wezen van de Stad
For a couple of years now I’ve been developing a series of works that engage, each in different ways, with what I propose to call filmic architecture. In these works, I explore the relationships between scale models, sets, architecture, and the moving image. Starting point is was the question: would it be possible to do a remake of a film, let’s say Ridley Scott Alien, with a set that would allow one to do so in one single shot? How to translate the combination of spaces, montage and shifts in size and angle as we see them in the film into the actual spatiality of a set that would allow one to shoot the film in a single continuity without the cut and paste of montage? This brought me to the idea of the Morphed Set as both a potential plan for a work and an intellectual exercise or figure of thought. Sometimes my works are extremely large “walkthrough INSTALLATIONS” – at other times, they are infinite small scale models and prototypes.
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FILE SAO PAULO 2017
OVERVIEW

Astronauts who were able to observe planet Earth from outer space for the first time, all experienced a strong emotional reaction later called the overview effect. A euphoric feeling of oneness with the planet and all living beings as a collective biotope where ‘my molecules are yours’ and vice versa and individuality seems an illusion.
The Overview-installation consists of a motorized video screen that can slowly pan, tilt and lift. The screen is 3m x 4m wide and has LED light on the backside. An abstracted globe is projected on the front.

After Party

(AI) infinite simulations

‘After Party’ is an animation about two young girls, Ada and Milica. They find themselves in a strange space where an adult party is happening. With every new simulation their personalities evolve in unpredictable ways: between Childhood and Adolescence, Refined and Savage. Our digital work consists of creating artificial environments in the form of real-time animation using our own custom software, where artificial intelligence characters interact with each other as well as with the virtual world that surrounds them. These pieces are usually inspired by stories or myths found in different cultures.

FILE SAO PAULO 2019

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.

Projeto IJO
FILE SAO PAULO 2015 FILE LED SHOW
“IJO” means dance in Yoruba. The project was born inside a series of actions with the objective of reframing the place of dance and a re-appropriation of the public spaces. Adapted to FILE FESTIVAL, the project unfolds its initial ambition, painting the walls and buildings of the city with dancing. By positioning themselves in front of “IJO”, the participants will have a visual representation of their bodies exhibited in real time on the FIESP building. Dance to tell who you are.

every time the stars align
FILE LED SAO PAULO 2018
“Every Time the Stars Align” fuses different natural elements of crystals, plasma and flowers in a lava lamp environment. Red crystals freeze with rigid edges and thaws into a relaxing mood. Plasma liquid rises and falls reflecting a lava-like quality. Flowers fluctuate between a spectrum of color symbolizing intense human affections. Contradicting and uniting flat and deep spaces, the three elements compose and decompose.

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?

رون اراد
阿拉德
רון ארד
ロン·アラッド
론 아라드
РОН АРАД
evocative proposal
For the canadian national holocaust monument competition, Ron Arad Studio teamed up with david adjaye associates to envision an evocative proposal commemorating the events, victims, and survivors of a grave moment in human history. Avoiding the use of direct symbols, the design places 23 sinuous and slender walls parallel to one another, creating a field of canyon-like passageways. Spaced 120 centimeters (47 in) apart, visitors are only able to pass through each crevice in single file. The partitions rise to a height of 14 meters (46 feet), drawing the eye upward toward the framed sky. This isolated journey is complemented by the shared experience of reflecting back on the monument’s significance.

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.

Zee
File Festival 

Immersive Audiovisual Environment Artificial Fog, Stroboscopes, Pulse Lights and Surround Sound, 2008

ZEE proposes a state of tabula rasa and unfolds without a narrative or reproducible imagery.The audience wanders freely in a space filled with extremely dense fog that fully obscures all of its boundaries. Stroboscopic- and pulse lights illuminate the fog, in a softened and evenly dispersed manner, creating kaleidoscopic three-dimensional structures in constant animation. An ambient and minimal sound-scape connects to the imagery, without directly synchronizing to it.The core visual impression of ZEE is of a psychedelic architecture of pure light, an abstract luminescent landscape enveloping the visitor. Time appears to stand still.

Polytope
“Polytope” is a lightweight, tractable structure that engages the visitor in a space-bodily investigation. It is rigid and at the same time, tractable. A void which takes space. Its volume is juxtaposed and re-arranged through the action of the visitor.

FILE FESTIVAL

Organic Cube
GIF
In early 2011 I was exploring the relations of geometry, nature and the human being in a series of 25 pictures that I called ”Fractal Experience”. This is part two – continuing the exploration of geometric shapes, patterns, and fractals with an added element: space-time. This time I’ve worked in 3D and produced a set of animated looping gif’s.
I’ve limited each animation to at most 48 frames, most are around 10-15 frames – to keep the file size small and to maximize the creativity with in these frames.

w for w
Hansje van Halem has run her studio in Amsterdam since 2003. In between deadlines for book designs, she fills time gaps with type drawings and empty book space with patterns. With a “practice makes perfect” mind-set, she taught herself not to be afraid of failure. Her time gaps soon took the upper hand and became her core business. While working on commissions from patterns for endpapers, architectural typography, and all scales in between, she creates a lot of overproduction.

SPACE WASTE LAB PERFORMANCE is a unique large-scale outdoor artwork of LEDs and real-time tracking information to visualise space waste above your head on an altitude of 200 to 20.000 kilometers. A real piece of space waste is part of the outside exhibition. Special designed software and camera technology developed in the last year enables the SPACE WASTE LAB PERFORMANCE to be exhibited international, in compliance with strict safety and aviation regulations.

Graduate of the Danish school of design and the Central Saint Martins College of Fashion and Textile in 2000, Isabel Berglund, having already exhibited around the world, is now one of the creative artists who makes use of knitting in contemporary art. Using knitted wool to create sculptures, she creates archaic memories with the mesh, sometimes incorporating clothing fragments so you can curl up in the sculptures and experience the inside. An experimental space where human and material boundaries merge in a knitted web of emotion, her work puts the poetic insight of a child at our fingertips.

Garden of Emoji Delights
FILE SAO PAULO 2015 

The Garden of Earthly Delights Triptych is one of the most famous works by the Dutch painter Hyeronimus Bosch. It dates back to the end of the fifteenth century and is kept in the Prado Museum in Madrid. The Triptych of the Garden of Emoji Delights is the version created by the contemporary artist Carla Gannis, in which space is invaded by small icons that today – thanks to the WhatsApp effect – are becoming an increasingly significant component of our language. It is not the first time that artists have played with emojis, perhaps inserting them in the real world or using them as neo-hieroglyphic fragments for cinematic riddles.

Strange Fruit
Using both sculpture and musical performance in his practice, Kevin Beasley explores the physical materiality and cultural connotations of both objects and sound. His sculptures typically incorporate everyday items like clothing, housewares, or sporting goods, bound together using tar, foam, resin, or other materials. Often they also contain embedded audio equipment that warps and amplifies the ambient tones of their surroundings. For Storylines, Beasley has created two new works specifically for the Guggenheim’s Frank Lloyd Wright–designed building. Within this vast and open sonic environment, Strange Fruit (Pair 1) and Strange Fruit (Pair 2) (both 2015) offer an experience of intimacy, absorbing and reflecting the sound of the crowd at the scale of a personal conversation. Each work embodies this spirit of dialogue in its two-part structure—at its core are two athletic shoes, one merged with microphones, the other with speakers. Suspending these objects in space, Beasley compounds their technological interchange with additional layers of meaning, bringing to mind the urban phenomenon of shoes hanging from overhead wires or poles (itself an open-ended form of communication). At the same time the works’ titles refer to history of lynchings in the American South memorialized by Bronx schoolteacher Abel Meerepol in the 1937 protest song “Strange Fruit.” In these contexts, the hanging forms of Beasley’s sculptures resonate not only with his body, which molded them by hand, or with the bodies moving through the museum, but also with those inscribed in the problematic history of race and class in the United States.

РЕЙНАЛЬД ДРУХИН
LANDSCAPE MONOLITH

MONOLITH is the title of French multimedia artist Reynald Drouhin’s latest art project which consists of a series of digitally manipulated images of stunning natural landscapes. In the middle of picturesque sunsets and serene Arctic landscapes, Drouhin pastes a mysterious prismatic shape and then flips it, thus creating a mind-boggling visual effect of an otherworldly transparent object hovering in desolate locations. The entire project is an ingenious appropriation of the famous monolith from Stanley Kubrick’s film ”2001: A Space Odyssey” where mysterious dark rectangular objects (dubbed as monoliths) were scattered across the solar system by an unknown alien civilisation which seemed to guide humans along a risky interplanetary journey. Reynald Drouhin’s MONOLITH series captures exactly the double nature of Kubrick’s monoliths: the inverted shapes in the photographs seem to be a window to another dimension, a physical anomaly which distorts the nature around it, and is both menacing and inviting.

The Blur Building (an architecture of atmosphere)
The Blur Building is a media pavilion for Swiss EXPO 2002 at the base of Lake Neuchatel in Yverdon-les-Bains, Switzerland.From piles in the water, a tensegrity system of rectilinear struts and diagonal rods cantilevers out over the lake. Ramps and walkways weave through the tensegrity system, some of them providing a counterweight for the structure. The form is based on the work of Buckminster Fuller.The pavilion is made of filtered lake water shot as a fine mist through 13,000 fog nozzles creating an artificial cloud that measures 300 feet wide by 200 feet deep by 65 feet high. A built-in weather station controls fog output in response to shifting climatic conditions such as temperature, humidity, wind direction, and wind speed.The public can approach Blur via a ramped bridge. The 400 foot long ramp deposits visitors at the center of the fog mass onto a large open-air platform where movement is unregulated. Visual and acoustical references are erased along the journey toward the fog leaving only an optical “white-out” and the “white-noise” of pulsing water nozzles. Prior to entering the cloud, each visitor responds to a questionnaire/character profile and receives a “braincoat” (smart raincoat). The coat is used as protection from the wet environment and storage of the personality data for communication with the cloud’s computer network. Using tracking and location technologies, each visitor’s position can be identified and their character profiles compared to any other visitor.In the Glass Box, a space surrounded by glass on six sides, visitors experience a “sense of physical suspension only heightened by an occasional opening in the fog.” As visitors pass one another, their coats compare profiles and change color indicating the degree of attraction or repulsion, much like an involuntary blush – red for affinity, green for antipathy. The system allows interaction among 400 visitors at any time.Visitors can climb another level to the Angel Bar at the summit. The final ascent resembles the sensation of flight as one pierces through the cloud layer to the open sky. Here, visitors relax, take in the view, and choose from a large selection of commercial waters, municipal waters from world capitals, and glacial waters. At night, the fog will function as a dynamic and thick video screen.

カルロ·ベルナル
卡罗贝尔纳迪尼
كارلوس برنارديني
Suspended Crystallizzation

Suspended Crystallizzation 2010, une grande intervention de la lumière dans l’espace extérieur, c’est un dessin spatial qui coupant le vide entre les bâtiments, s’impose au niveau de l’air comme une forme illusoire. Destiné à transformer l’espace du contenant de l’œuvre d’art en une forme ouverte et «perméable», le projet matérialisé par la lumière physique de la fibre optique est réalisé à travers le libre expressionnisme de l’espace dessinant les lignes de lumière en négatif dans une telle obscurité environnement comme sur une feuille sombre.

Oups!
Oups!
FILE SAO PAULO 2007
Capturing and tracking camera, animated image integration and projection
Created in 2007. Oups! was born from the wish to mix new technologies and classic animation in a playful and artistic way. Each animated sequence has a script and the visitor interacts and transforms himself into an actor of this story.
When the visitor enters in a defined space, a camera records his image and projects it on a screen in front (like a mirror) in real size and time. The visitor sees himself integrated to an animation setting that follow his movements. He founds himself immersed in a creative universe of images and sounds. The animation sequences that feed this universe are stored in a video library, new animations may be added to enrich the project. Oups! universe is playful and naive, accessible to all publics and ages.
video
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