FILE 2026

Digital Film Festival and AI Cinema: includes productions that explore new aesthetics, narratives, and processes enabled by digital and artificial intelligence technologies.  This language questions traditional notions of authorship, editing, scriptwriting, and directing, proposing new forms of expanded and computational cinema. Cinema ceases to be merely representational and becomes processual and adaptive. It is an emerging field that articulates aesthetics, technology, and critical reflection on the future of moving images and multiple narratives. The works may also explore machine learning algorithms, generative models, and automation as active agents in the construction of image, sound, and dramaturgy.

Applications were open until February 19, 2026. Access  the application form.

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Digital Video and AI Festival: explores experimental languages ​​beyond traditional narratives.  Works may utilize digital editing, image manipulation, computational processes, and artificial intelligence technologies.

Applications were open until February 19, 2026. Access  the application form.

FILE 2026 | GENERAL REGULATIONS

Dina Khuseyn, Patrick K.-H., Oleg Makarov

A multivarious result of visual representation of 3 non-identical structures (dance performance, sound art and animation) points at interactivity as the main possible axis of reference. Necessity of this axis derives from specific interpretations that can only appear by juxtaposing of several systems. It opposes to traditional “parallelism” of media, employed in theater that only imitates causality, but having it already done before performance is starting.
In Cinestetika, each element of each media works as separate PROCESS, but also serves a SIGNAL to other medias. This essential core makes Cinestetika rather an instrument to make a term “live performance” filled with its perfect sense.

Darren Slater (DSM)

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

BIO

Darren Slater is a musician and amateur visual artist based in the UK. He composes cinematic soundtracks in ambient and techno-house styles with sci-fi inspiration, using attribute-free loops and sound effects. He uses Krea AI Animator to bring AI-generated images to life, creating immersive experiences. He also works as a traditional artist, painting fantasy worlds with brushes and pigments.

Darren Slater (DSM)

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

Trip Portal – United Kingdom

Portal Trip is a captivating fusion of original music and Darren Slater’s AI-generated animations, transporting viewers on a surreal journey through ever-shifting dimensions. As abstract portals open and dissolve into fluid landscapes, the hypnotic visuals synchronize with Darren’s immersive soundscapes, creating an audiovisual experience that feels like entering another reality. A mesmerizing blend of movement and sound, this video invites viewers to lose themselves in its dreamlike, otherworldly depths.

BIO

Darren Slater is a musician and amateur visual artist based in the UK. He composes cinematic soundtracks in ambient and techno-house styles with sci-fi inspiration, using attribute-free loops and sound effects. He uses Krea AI Animator to bring AI-generated images to life, creating immersive experiences. He also works as a traditional artist, painting fantasy worlds with brushes and pigments.

Pods

Darren Slater (DSM)

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

Pods – United Kingdom

Pods is an atmospheric fusion of original music and Darren Slater’s mesmerizing AI-generated visuals. This 4K video takes viewers on a surreal journey through an abstract world filled with floating organic forms and fluid transformations. The sci-fi-inspired imagery and immersive soundscape complement each other perfectly, creating an otherworldly audiovisual experience that lingers in the imagination.

BIO

Darren Slater is a musician and amateur visual artist based in the UK. He composes cinematic soundtracks in ambient and techno-house styles with sci-fi inspiration, using attribute-free loops and sound effects. He uses Krea AI Animator to bring AI-generated images to life, creating immersive experiences. He also works as a traditional artist, painting fantasy worlds with brushes and pigments.

Garden

Michael Betancourt

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

Garden – United States

Garden is a generative glitches animation created by deliberately conflicting AI (LoRA) models. Using multiple LoRA models to generate images that evoke flowers in a garden, the work transforms traditional representations of plant life into a fluid and hallucinatory exploration of growth, decay, and metamorphosis. These transformations suggest alternative ways of understanding organic growth, where the boundaries between individual organisms become fluid and permeable.

BIO

Michael Betancourt is a contemporary Cuban-American critical theorist, filmmaker, and artist-researcher known for his pioneering work in the fields of Digital Capitalism, Motion Graphics , and Glitch Art . Since 1990, he has explored the intersection of technology, culture, and aesthetics in a diverse practice unified by a constant concern with the poetic potential of images generated by errors.

Music for Control Panels

Juan Manuel Escalante

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

Music for Control Panels – Mexico

Music for Control Panels is an audiovisual exploration inspired by the aesthetics of machines and control rooms. In the tradition of electronic ambient music, sporadic acoustic events and drones guide the viewer through a contemplative journey. The visual component features a generative graphic score echoing projections of computer terminals, printers, and fax machines. The overall composition pays homage to the early computer systems using contemporary techniques.

BIO

Escalante is an artist and educator working with computer code, modular synthesizers, and analog drawings. His work has been shown in major festivals and exhibitions worldwide. Escalante holds a Ph.D. in Media Arts & Technology (University of California, Santa Barbara).

Daily Diffusion 53 & 86

Callahan Indovina

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Shorts Films AI
Electronic Language International Festival

Daily Diffusion 53 & 86 – United States

The Daily Diffusion series by Callahan Indovina was a three-month project launched in 2024, as Generative AI tools and various plat forms to support the automation of animations and workflows were still emergent. The YouTube series aimed to provide workflows, prompts, and examples on how to utilize Stable Diffusion and various enhancements to create psychedelic animations. Like many of his works, the Daily Diffusion series took inspiration from Calalhan’s experiences within his dreams.

Music: https://www.mubert.com

BIO

Callahan Indovina is a spir itual and psychedelic artist from California’s Sierra Nevada. His artistic expression combines traditional digital composition techniques with innovative practices such as generative AI. His creations, described as super natural and dreamlike, reflect his surreal and transcendental vision, drawn from experiences within his dreams

Pre(N)atura | Fonocene

CNDSD & Iván Abreu

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Shorts Films AI
Electronic Language International Festival

Pre(N)atura | Fonocene – Mexico

Speculative audiovisual project inspired by postnatural studies, designed to explore the era of the Fonocene—a period where both human and non-human sounds define sensory experiences and interspecies interactions. In this narrative, Chthulucene beings, hybrid creatures, emerge to challenge traditional forms of communication, using listening as a tool to activate our awareness of interdependence. 

BIO

Iván Abreu is a Mexican-Cuban interdisciplinary artist who uses science, design and technology to create works that question human interaction and social systems. Malitzin Cortés, (CNDSD), is a Mexican artist who explores the intersection of sound, technology and speculative architecture. Her work combines live coding, audiovisuals and critical narratives. 

Verticity

Jenifer Haider Chowdhury

FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Shorts Films AI
Electronic Language International Festival

Verticity – Bangladesh

What will happen in the AEC industry after one thousand years from today? In this cutting-edge technology-based world, we have already started to take steps in Artificial Intelligence and some other advanced sectors such as biotechnology which is inspired by mimicking mechanisms found in nature. By observing all of these, we can say that in the future there will be so much dynamism and diversities in the skyscraper design development process.

BIO

Architectural designer who graduated with a B.Arch degree from the University of Asia Pacific, Bangladesh. For the past two and a half years, she has been exploring AI-based architecture and fashion experiments. She has a deep interest in parametric and dynamic computational style designs and ideas in both architecture and fashion design. She is also passionate about surrealism and non-traditional concepts. These factors are the major inspirations behind all of her works.

The City – The Wicked Emergence

Hassan Ragab

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

The City – The Wicked Emergence – Egypt | United States 

BIO

Hassan Ragab is a new media artist, interdisciplinary designer and architect who leverages generative AI to discover new visual and conceptual vocabularies. A pioneer in the use of LLMs (Large Language Models) in architecture and art, Hassan explores how these tools can redefine creativity, challenge traditional boundaries, and foster new dialogues between technology, identity, and the built environment.

In partnership with the Architectural Association School of Architecture · The AA

The MicroCinescope

Thomas Marcusson

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

The MicroCinescope – Australia

The MicroCinescope is an interactive artwork merging art and science. A high-resolution screen, magnified by an antique brass microscope, shows a live feed from above the device and the surrounding visitors. Placing the audience literally under the lens, the piece invites reflection on ourselves and our cultural habits—such as visiting art exhibitions.

BIO

Thomas is an artist exploring the intersection of science and contemporary culture, blending technology with traditional media like sculpture, video, and installation. Studied mathematics in Gothenburg and earned a Bachelor of Arts from the University of Technology Sydney, working across Australia and Europe.

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

Distortions of The Past

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – Distortions of The Past – Austria

Fractal elements that resemble cosmic structures evoke the illusion of traveling through a fractal universe. Rules, in the form of prompts, and chance interact with each other to create a visual fantasy.

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: Distortions of the Past by Dreamstate Logic

Floating

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Leilanni Todd – Floating – United States

Floating explores the concept of surrendering and freeing oneself by allowing oneself to float, symbolizing overcoming adversity and mastering self-confidence. Inspired by her grandmother’s journey to overcome her fear of water through swimming, the work uses water and sea creatures as symbols of resilience and transformation. The personal narrative behind the work adds depth to its exploration of overcoming fears and discovering inner strength.

Bio

Leilanni Todd is an award-winning creative director with extensive experience in advertising, fashion and new media. Originally from Toronto and now based in New York, she harmoniously integrates art, technology and culture into her work. Through her FLOAM WORLD platform, Leilanni creates surreal narratives, reimagines traditional norms in fashion and advertising, and addresses complex human issues with humor and creativity.

Magic Drops

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – Magic Drops – Austria

Moving abstract structures and grimacing masks, colors that change and pulse to the rhythm of the music create a psychedelic experience that embodies the spirit of Techno.

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

Music: Chris Robert

In Love

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – In Love – Austria

Fractal structures move to the sound of progressive house as the virtual camera navigates through this fractal world. To intensify the psychedelic quality, a second layer contrasts with the movement, resulting in a joyful madness of colors.

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

Music: Y do I

Portraits in Black and Silver
Portraits in Black and Silver is an interactive kinetic artwork that uses BREAKFAST’s custom-engineered Flip-Disc medium. This computer-controlled installation invites you to become a part of its history. As you engage with the piece, it will record a brief clip of your interaction and play it back at a later time, cycling through all of the portraits captured. Flip-Discs are small dime-size circles that can rotate 60 times per second using electromagnets, creating abstract images of black and silver portraits. The artwork challenges your perception of what art can be and pushes the boundaries of traditional mediums.

MIT Media Lab, Stanford University
This work explores a dynamic future where the accessories we wear are no longer static, but are instead mobile, living objects on the body. Engineered with the functionality of 18 robotics, this “living” jewelry roams on unmodified clothing, changing location and reconfiguring appearance according to social context and enabling multitude presentations of self. With the addition of sensor devices, they transition into active devices which can react to environmental conditions. They can also be paired with existing mobile devices to become personalized on-body assistants to help complete tasks. Attached to garments, they generate shape-changing clothing and kinetic pattern designs–creating a new, dynamic fashion.
It is our vision that in the future, these robots will be miniaturized to the extent that they can be seamlessly integrated into existing practices of body ornamentation. With the addition of kinetic capabilities, traditionally static jewelry and accessories will start displaying life-like qualities, learning, shifting, and reconfiguring to the needs and preferences of the wearer, also assisting in fluid presentation of self. We envision a new class of future wearables that possess hybrid qualities of the living and the crafted, creating a new on-body ecology for human-wearable symbiosis.

Human Flag
Julia Beliaeva ist eine ukrainische Künstlerin, die Technologien wie 3D-Scannen, 3D-Modellierung, 3D-Druck und virtuelle Realität einsetzt. Sie reflektiert das Umdenken von Tradition und traditionellen Medien in einer sich ständig verändernden virtualisierten Welt. Sie interessiert sich dafür, wie Technologie uns und unser Bewusstsein beeinflusst, und wie die neueste Technologie Sinn machen und traditionelle Medien aktualisieren kann. Insbesondere arbeitet Julia viel mit Porzellan, um über das Erbe und die verlorenen Traditionen durch eine Kombination aus neuen Technologien und der in der Ukraine beliebten Keramikindustrie nachzudenken, die heute verloren gegangen ist.

The Body is The House, The House is But Haunted
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Eli Cortiñas’ artistic practice traverses contemporary and historical visual cultures, which she dissects using montage and collage, displacing limiting attributions and creating space for feminist and decolonial narratives. These methods gradually reveal specific patterns which are often inherent in the images themselves. Juxtaposing what seems disparate, drawing parallels and uncovering commonalities, Cortiñas lays bare traditional conventions of representation and identifies surprisingly rigid narrative patterns.

Golden Years
Jacky Tsai is a Chinese artist based in London. His inventive approach fuses traditional eastern artistic techniques and imagery with western Pop Art references to create an original style that seeks to establish balance and harmony between cultural extremes.

蔡国强
Цай Го-Цян
Endless

In dieser Installation namens Endless schafft der in New York lebende Künstler Cai Guo Qiang eine ruhige Atmosphäre, in der klassische Holzschiffe auf grünen, nebligen Wasserwellen schweben. Die Schiffe scheinen mitten im Meer verloren zu treiben, während eine Wellenmaschine ruhige Wellen erzeugt und eine Nebelmaschine den Raum mit einem verschwommenen Dunst füllt. Während die Schiffe langsam und endlos im Wasser schaukeln, befinden sich die Betrachter in einer ruhigen, reflektierenden Atmosphäre. Der Künstler bezieht zwei Arten von Schiffen als Aussage über die Interaktion zweier Welten ein. Zwei Houri-Boote, die normalerweise in der Golfregion zu sehen sind, sind jeweils etwa 244 Zoll lang, während ein chinesisches Fischerboot, das seit Jahrhunderten in Qanzhou eingesetzt wird, 800 Zoll lang ist. Die beruhigende Umgebung, die von Cai Guo Qiang geschaffen wurde, löst meditative Gedanken über alte Kulturen und Traditionen aus, die an einem Ort zusammenkommen, während die physische Repräsentation zweier Welten, Ost und Naher Osten, in einem endlosen Meer friedlicher Bewegung nebeneinander schwebt.

sofi

in analysis of the modern skyscraper there is traditionally an aesthetic agenda that localizes itself in a “shoes” or “hat” location. The tower typology has ignored the possibility of a center distortion. This distortion acts as an aesthetic element as well as an organizational(programmatic) locator. By designing from the middle out there is a chance for the building to better blend with its context by keeping the processional elements in the center. Entrance and roof conditions mimic their tower brothers and give a moments rest in the exuberance of design. This proposal creates a center distortion and layers form through a simulation of gravity and the“claspyness” of the outer skin. The inner void acts as a way of creating a Secretary oriented office program rather than a traditional first floor security, freeing up the center of the building to the public. The project looks to rationalize itself through components rather than a monolithic form.

ИВ БЭЙЛИ
ENTASIS DANCE IV
My work is based on the concepts of balance and coordination. The body interests me as a perceiving mechanical structure. I use my own body as a primary tool to create pieces that experiment with equilibrium through physical, mechanical, plastic and conceptual means. My studio practice is rooted in the tradition of the artist engineer. I design and build suspended and pendular constructions that can sustain their own weight and mine as I perform with them. By climbing and inverting on the structures, I challenge my own perception and creative process.

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.

Originally from Wuhan, China, Terrence Zhou is a promising fashion designer based in New York City. Having a background in design and mathematics, Terrence leans on his multifaceted understanding of Chinese tradition, mathematics, Greek mythology and artistry to create collections seemingly out of this world.
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Terrence Zhou 来自中国武汉，是纽约市一位很有前途的时装设计师。拥有设计和数学背景的 Terrence 凭借对中国传统、数学、希腊神话和艺术的多方面理解，创作出看似与世隔绝的系列。

فيليب الزجاج
菲利普·格拉斯
פיליפ גלאס
フィリップ·グラス
필립 글래스
Филип Гласс
Einstein On The Beach
ROBERT WILSON
Portrait Trilogy:Einstein; Akhnaten; Gandhi

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Einstein on the Beach is an opera in four acts (framed and connected by five “knee plays” or intermezzos), scored by Philip Glass and directed by theatrical producer Robert Wilson. The opera eschews traditional narrative in favor of a formalist approach based on structured spaces laid out by Wilson in a series of storyboards. The music was written “in the spring, summer and fall of 1975.”Glass recounts the collaborative process: “I put [Wilson’s notebook of sketches] on the piano and composed each section like a portrait of the drawing before me. The score was begun in the spring of 1975 and completed by the following November, and those drawings were before me all the time.”
full opera

sanctum
Zach Blas（United States、1981）の作品は、テクノクラート社会の限界と基盤を描くことを目的として、視覚言語の慣習、価値体系、デジタル技術に内在する力のダイナミクスをさまざまな文脈で分析、調査、配置しています。 。 彼の分析とデジタル文化への反映のために、彼は映画、彫刻、執筆、パフォーマンスなど、さまざまな表現形式を使用しています。 ブラスはブラックユーモアと理論的研究に取り組んでおり、彼の最も顕著な影響の中には、神秘主義の伝統、サイエンスフィクションのジャンル、ポップカルチャー、クィアの美学があります。

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sanctum

The work of Zach Blas (United States, 1981) analyzes and explores the dynamics of visual language practices, value systems, and the forces inherent in digital technology in a variety of contexts, with the aim of depicting the limits and foundations of technocratic societies. I have placed it. .. For his analysis and reflection in digital culture, he uses a variety of forms of expression, including film, sculpture, writing and performance. Brass works on black humor and theoretical research, and among his most prominent influences are the mystical tradition, the genre of science fiction, pop culture, and the aesthetics of queer.

‘SnP’, 2018, recycled plastic, injection moulded

“Widrig’s art breaks down the boundaries between disciplines; borrowing tools traditionally associated with one industry and using them in other fields, in often unanticipated and exciting ways. Widrig uses computer simulation processes and advanced technologies adopted from the special effects business to create sculptural 3D-printed craftwork—digital designs materialize into intricate sculptures in glass or recycled plastic and furniture pieces with impeccable undulated thin surfaces,” Devid Gualandris

BECHA-KPACHA
BECHA-KPACHA is an algorithmic music video for the electronic musician COH. The song’s tittle (pronounced Vesna Krasna) was taken from an old Russian poem and roughly translates “Spring the beautiful”, though it can also mean “Spring the red.” The animation reference’s traditional Russian folk patterns, commonly known as Hohloma. In these patterns, colorful plant leaves expand and twist around one another while fruit grows along side. These patterns were a starting point for this sound-responsive animation.

Erebeta
« Erebeta » drives us on a vertical jump above the city. We ricochet on the pavement, twirl around the buildings and pass through streets. This bouncing point of view on modern Japan is accompanied by the traditional Kuroda Bushi music.

Ciel Électrique
Une gigantesque installation ELECTRIC SKY composée de 640 lumières LED Winch XS et Sphere 17 a été créée par KINETIC LIGHTS pour une performance scénique épique en 2047 Apologue dirigée par ZHANG Yimou et produite par L!VE Kingway au National Center for the Performing Arts de Pékin. ZHANG Yimou brise la forme des pièces de théâtre traditionnelles, combinant les arts folkloriques chinois avec la technologie internationale, et créant ainsi une « performance conceptuelle » unique. Les arts populaires chinois ont été présentés avec différentes technologies de pointe, déclenchant une nouvelle vitalité. Notamment, 20 équipes et individus de sept pays se sont réunis dans cette performance.

The Constant Gardeners
S’inspirant d’un jardin zen japonais traditionnel, quatre bras de robots industriels sont disposés autour d’une vaste toile de gravier avant de se réveiller et de commencer à ratisser la surface. Dans une série de performances quotidiennes, ces « jardiniers » travaillent ensemble pour créer des illustrations uniques et évolutives représentant les mouvements des athlètes. Générées par une série d’algorithmes sur mesure, qui analysent des séquences vidéo d’événements olympiques et paralympiques, certaines illustrations représentent un mouvement qui se déroule dans le temps tandis que d’autres mettent en lumière un moment sportif spectaculaire. Une méditation sur la tradition, l’artisanat et les rôles de la technologie, The Constant Gardeners offre aux visiteurs un espace paisible pour une introspection tranquille. L’œuvre explore un nouveau récit autour de la robotique, montrant que cette technologie est une force capable de créativité artistique et d’action expérimentale, qui joue un rôle déterminant dans notre cheminement vers un avenir plus heureux et plus sain.

La trahison des tapis
The title is a reference to the famous work by René Magritte “The Treachery of Images”. Even though the video installation alludes to it, the viewer is immediately aware that this is not a real carpet. What you see is an animation, a digital carpet, its contemporary variant. However, the patterns of the replica show that it could have been made in the west of Iran. The movements, which appear surreal, are reminiscent of a state of intoxication. Whether this was triggered by drugs, or only arose from the lively imagination of a tired child, is left to the speculation of the viewer. The work reflects the importance of traditional arts and crafts in the modern digital world. It is the first of a series of digital carpets.
The animation has a realistic resolution of 4k, is 03:55 minutes, and runs in an infinite loop on a 65-inch display.

Peter Eötvös

Multiversum

Multiversum is written for two solo instruments and orchestra, for two instruments of the same family: the traditional organ with its rich but static colours and the modern Hammond, which can continuously change colours. It was very important for me that the sound of the two organs could completely wrap around the audience, like we imagine the cosmos envelops us. The traditional organ sounds from the front, the Hammond from the back. If we visualise the two organs as our galaxy, then the different groups of the orchestra can represent different galaxies. That’s how the “Universe” becomes the “Multiversum”.

Een natuurlijke geschiedenis van netwerken / Soft Machine
A Natural History of Networks / SoftMachine is een elektrochemische algoritmische machine die een alternatief computationeel en technologisch materiaalregime onderzoekt, gebaseerd op Gordon Pask’s experimenten met elektrochemische leermechanismen [↓ 1] en huidig ​​onderzoek naar biomimetica, programmeerbare materie en vloeibare ruimtetijdgestuurde metalen actuatoren . Binnenin creëert een op maat gebouwd elektrochemisch experimenteel apparaat (SoftMachine) een dynamische vloeibare microkosmos die een continue evolutie van vormen, structuren en materiële verhalen uitvoert. De voorstelling heeft tot doel nieuwe verbeeldingen van het machinale, het kunstmatige en het materiële uit te lokken. Een radicale technologie die traditioneel discreet mechanisch denken verbindt met zachte/vloeibare materialen die zelfgeorganiseerd gedrag mogelijk maken via hun specifieke materiële agentschappen.

Sonic Mountain
As a unique site-specific commission for the Donum Estate, Los Angeles-based artist Doug Aitken has created the ethereal work Sonic Mountain (Sonoma), three concentric circles of suspended stainless-steel pipes whose differing lengths form a wave at their base, mirroring the free Euler-Bernoulli shape that describes the chime’s frequency. Installed in the eucalyptus grove, measuring forty-five feet in diameter and twice human height, and comprising 365 chimes — one for each day of the year — Sonic Mountain (Sonoma) works with one of Donum’s most persistent elements, the Carneros breeze that cools the grapes and creates a temperate zone for growing Pinot Noir. Each day, the warm wind begins its soft whisper, rustling through the vines and trees, building in strength through the day until mid-afternoon, and then gradually diminishing in force. Known to have been used since at least the ancient Roman period in Europe and the second century in India and China, wind chimes create chance, inharmonic music. At Donum, Aitken has teamed up with his friend the composer Terry Riley to compose chords in the chimes to be played by the wind , depending on how it blows, so the lyrical work sounds throughout the estate, demonstrating the artist’s practice of making installations that synthesize many media and are never constrained by tradition.
video

Planet City

Planet City, by Los Angeles-based film director and architect Liam Young, explores the productive potential of extreme densification, where 10 billion people surrender the rest of the planet to a global wilderness. Although wildly provocative, Planet City eschews the techno-utopian fantasy of designing a new world order. This is not a neo-colonial masterplan to be imposed from a singular seat of power. It is a work of critical architecture – a speculative fiction grounded in statistical analysis, research and traditional knowledge.
It is a collaborative work of multiple voices and cultures supported by an international team of acclaimed environmental scientists, theorists and advisors. In Planet City we see that climate change is no longer a technological problem, but rather an ideological one, rooted in culture and politics.

ايسي مياكي
איסי מיקים
イッセイミヤケ
이세이 미야케
HOMME PLISSÉ

Im Zentrum von Miyakes Philosophie der Kleidung steht die Idee, ein Kleidungsstück aus einem Stück Stoff zu kreieren. und die Erforschung des Raumes zwischen dem menschlichen Körper und dem Gewebe, das ihn bedeckt. Sein Fokus auf Design war immer, ein ausgewogenes Verhältnis zwischen Tradition und Innovation aufrechtzuerhalten: handgefertigte und neue Technologie. FOLDING BITTE wurde 1993 geboren und ist eine radikale, aber äußerst praktische Form zeitgenössischer Kleidung: Sie kombiniert eine alte Idee, eine dreidimensionale Figur mit zweidimensionalem Material unter Verwendung von Falten zu verbinden, mit neuer Technologie, Funktionalität und Schönheit . 1998 kehrte Miyake zu seiner ursprünglichen Liebe zur Forschung und Erforschung zurück und startete mit dem Mitarbeiter Dai Fujiwara ein neues Projekt namens A-POC (One Piece of Fabric). Durch die Erforschung der Möglichkeiten zwischen Kreativität und digitaler Technologie hinterfragt Miyake die traditionellen Methoden, mit denen wir Dinge tun.

32 rue vandenbranden
The script of physical actions is inspired by the Japanese film A ballad de Naraiama (1983), by Shohei Imamura, the one with tearing images, like that of the son carrying his mother on his back, embraced by the wind, climbing the mountain to put her on the summit until death, as the local tradition says that every septuagenarian must have an equal destiny. In the same village in the late 19th century, parents used to sell babies to survive. These material and spiritual miseries do not bring literals to the stage. Rather, they are essentials that make the show a fabulous visual poem written in and with the body and the scenic space. The song is also celebrated at the height, with moments such as Stravinski’s The Bird of Fire suite, and the song Fline on you crazy diamond, by the band Pink Floyd.

“Movrin’s main inspiration has always been his childhood, where tradition, God and meat were the subject of everyday life. As an only son of a butcher in a small Slovenian town, surrounded by woods and bears, his growing up marked him with a roughness that he transcends in his designs with a special kind of romanticism. In this hard provincial life meat became his medium of expression, as a child he would carve steaks in a way that would appeal to his bewildered eye. There were, however, also fresh issues of Vogue magazines in the house, brought from trips to Trieste, that stirred up his imagination.” Black Sheep

mode:Niko Riam

Light Tree: Interactive Dan Flavin
HYBE’s Light Tree: Interactive Dan Flavin re-illuminates the minimalist fluorescent light tubes of Dan Flavin from the 1960s, through digital technology. Experimenting with light and its effect, Flavin explored artistic meaning in relationships between light, situation, and environment. The readymade fluorescent light fixtures he used created space divided and adjusted by light and composition, offering a newly structured space with light. HYBE’s work expands the logic of Flavin by reinforcing the physical property of light through interactive media. It presents an escape from traditional lighting, as light and color changes when touched by viewers. Lighting here is divided into front and back, and colors are programmed to maintain complementary colors. The front lighting constantly interacts with colors on a back wall through visual contrast and mixture. A random change and diffusion of light with the involvement of viewers provokes tension extending and segmenting space, turning space into a forum for emotional perceptual experience.

LEMUR GuitarBot
File Festival
The “LEMUR GuitarBot” is a robotically controlled electric slide guitar-like instrument. It is comprised of four independently controllable units which can pick and slide extremely rapidly. Resembling neither a traditional robot nor a guitar, it is a new type of instrument with markedly different capabilities than a human guitarist.

FILE SAO PAULO 2017
LES DISCIPLINES DU RECTANGLE
Inspired by Michel Foucault’s work, Les disciplines du rectangle is a videogame proposition about the nature of rules and norms at the digital age. If society provides models of accomplishment we are supposed to fit inside, then the rectangle is the pure abstraction of this idea. The geometrical shape works as a symbol of the very nature of normativity, blind to individual differences. The rectangle, existing only on the screen, reveals how digital technologies can in some ways become the new location for this normativity and the ambivalent results of their intangible and invisible nature. Besides, the installation offers an occasion to think about the way games can become manipulation tools. The fact that in the end, players act as if they were piloted by the rectangle (an inversion of the traditional relationship between player and avatar) gives an aesthetical highlight to this.

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Inspirado en el trabajo de Michel Foucault, Les disciplines du rectangle es una propuesta de videojuego sobre la naturaleza de las reglas y normas en la era digital. Si la sociedad proporciona modelos de realización en los que se supone que encajamos, entonces el rectángulo es la pura abstracción de esta idea. La forma geométrica funciona como símbolo de la naturaleza misma de la normatividad, ciega a las diferencias individuales. El rectángulo, que existe solo en la pantalla, revela cómo las tecnologías digitales pueden convertirse de alguna manera en la nueva ubicación de esta normatividad y los resultados ambivalentes de su naturaleza intangible e invisible. Además, la instalación ofrece la oportunidad de pensar en cómo los juegos pueden convertirse en herramientas de manipulación. El hecho de que, al final, los jugadores actúen como si fueran piloteados por el rectángulo (una inversión de la relación tradicional entre jugador y avatar) le da un toque estético a esto.

キース·ソニア
Keith Sonnier ist besonders durch seine Lichtinstallationen international bekannt geworden. Bereits in den 1960er Jahren entdeckte er künstliches Licht als bildnerisches Material und experimentierte mit verschiedenen Lichtquellen wie Schwarzlicht und farbigem Neon, einem Material mit vielfältigen Assoziationen zur Werbe- und Alltagsästhetik. Sonnier, der in New York lebt und arbeitet, versteht sich nicht als Lichtkünstler sondern als Bildhauer. Sein Beitrag zur Überwindung des traditionellen Skulpturenbegriffs durch das Medium Licht war prägend für die Kunst der Zeit nach 1960 bis heute. Er wurde zum Wegbereiter einer ‘neuen Skulptur’.

Pixel
Les œuvres qu’il crée introduisent souvent des chevauchements surprenants et ludiques entre le physique et le numérique dans l’espace public, où ils sont confrontés à un large public. Ses œuvres ne sont pas destinées à être présentées dans l’espace traditionnel du cube blanc, mais plutôt dans des rues bondées, des festivals en plein air ou des paysages ouverts où elles deviennent un sujet à diverses influences, où elles peuvent non seulement être regardées mais aussi touchées et jouées. L’élément de participation est en fait souvent inhérent à la conception des installations de Vorwerk, qui sont complétées par l’engagement du public. Leur caractère organique leur permet de changer continuellement et d’être toujours influencés par le contexte dans lequel ils sont placés.

舞妓武田
武田麻衣子
מאיקו טאקדה
마이코 다케다
مايكو تاكيدا
Atmospheric Reentry

Die Atmospheric Reentry Collection untersucht die Bedingungen und Formen des Ätherischen. Ausgehend von der einfachen Frage, wie es sich anfühlt, eine Wolke zu tragen, hat Maiko Takeda eine Reihe skulpturaler Kopf- / Körperteile geschaffen, die die Grenzen des umgebenden Raums für den Träger verwischen und versuchen, die traditionellen Erwartungen an Kopfbedeckungen zu übertreffen. Die Ästhetik der Sammlung ist inspiriert von der futuristischen Stimmung von Ton und Bild, die aus Robert Wilsons 1976er Produktion von Philip Glass ‘Oper Einstein on the Beach stammt. Maiko bevorzugt die Verwendung unkonventioneller Materialien, wobei jedes Stück eine sorgfältige Zusammenstellung von Hunderten von stacheligen federähnlichen Einheiten aus klaren Acrylscheiben, farblich abgestuftem Film und silbernen Biegeringen darstellt, die sich auffächern, um eine Dichte und Leichtigkeit zu erreichen Umgeben Sie den Träger mit einem bunten, leuchtenden Dunst.

Steampunk Pavilion
Steampunk is a pavilion constructed from steam-bent hardwood, designed by Gwyllim Jahn, Cameron Newnham (Fologram), Soomeen Hahm Design and Igor Pantic for the 5th edition of Tallinn Architecture Biennale.
“Steampunk explores a path to rethink applications and traditions of craft in pursuit of their evolution.” Soomeen Hahm Design
“The structure challenges the idea of the primitive hut –showing how, by using algorithmic logic, simple raw materials can be turned into a highly complex and inhabitable structure”.Gilles Retsin