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.

lumiére
a complete new version, the result of performing Lumière for more than one year, condensed into a more sophisticated, more complex, more fragile, more massive synaesthetic experience! photos and more info online in early February.Based on self written software, this work on the edge of concert and site specific installation finds previously unseen beauty and minimalistic elegance in a commonly underrated medium. High power lasers draw complex morphing shapes and connect points in space. Lumière combines precise geometric figures with floating organic structures, presenting the archaic sign language of an alien culture communicating via emerging and disappearing traces of extremely bright light.Percussive and textural sonic events provide a counterpoint to the visual rhythm, resulting in a multi sensorial experience which at times is fragile and quiet, at others massive and overwhelming. Each Lumière performance is a unique and site specific real time exploration of synchronicity and divergence, of light and darkness at the limits of perception.

Machine Hallucinations — Sphere

The artwork presents a series of AI Data Sculptures that incorporates vivid pigments, shapes, and patterns, aiming to create a collective, meditative, and multisensory experience. This immersive experience simulates the rhythms of various environments and invites the visitors to imagine alternative realities constructed by invisible data movements around them.
Machine Hallucination: The Sphere features dynamic visualizations of data that are based on vast archives containing visual imageries of space and nature while celebrating the unique architecture of The Sphere. For this project, Anadol and his team used these themed datasets as the building blocks for the three distinct chapters of the artwork and trained a unique AI model with subsets of the collected image archives. After the training, when idle and unsupervised, the “machine mind” generates new aesthetic visuals and color combinations through unique lines drawn by algorithmic connections.

Audio Responsive Treehouse

FILE 2024 | Architectural Synthetics
International Electronic Language Festival
Hassan Ragab – Audio Responsive Treehouse – United States

This work, created using generative artificial intelligence tools, is part of a broader exploration into discovering architectural forms through the intersection of different media. Potential shapes are generated based on the rhythms and timbres of the Shockone vs. Shockone song Run. The Bloody Beetroots. Factors such as camera movement and dynamics between the interior and exterior of the treehouse contribute to the creative process.

Bio

Hassan Ragab is an interdisciplinary media artist, architect and designer whose work focuses on the synergy between art, architecture, technology and humanity. He uses generative artificial intelligence to create a new visual language, and his work is exhibited globally. Additionally, Hassan writes about the integration of new media into art and design and has been recognized in numerous publications and news outlets.

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

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

Enter the World

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Enter the World – Spain

Enter the World is a visual experience with bright, vibrant colors in a retro sci-fi anime style, which transforms and evolves with the rhythm of the music.

Bio

Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI ​​Film Festival Montpellier 2023.

Credits

Music: Enter the World by NPM

Magnus Westwell

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What do you picture when you listen to music? This raw and rhythmically driven  piece  takes us inside the mind of  Magnus  Westwell and how  they  visualize  music.
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Qu’est-ce que tu imagines quand tu écoutes de la musique ? Cette pièce brute et rythmée nous plonge dans l’esprit de Magnus Westwell et de la façon dont ils visualisent la musique.
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Was stellst du dir vor, wenn du Musik hörst? Dieses rohe und rhythmisch getriebene Stück führt uns in die Gedanken von Magnus Westwell und wie sie Musik visualisieren.

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

Anomy, for U.S.and Mexican News
Anomy, for U.S.and Mexican News uses news media RSS feeds in real time in combination with data sanitization and sound synthesis algorithms in order to create visual displacement and generate a non-linear musical score. Through immersion, adjacency, perpetuity, uncertainty, and content in real time, it offers a contemplative experience with mass media, censorship, and language in contemporary society. Information containing the letter “e” in news briefs from eleven different sources in English and Spanish will be redacted—each triggering a musical note. Inspired by lipogrammatic literature and concrete poetry, this piece uses the lipogram to call attention to subjectivity and control in mainstream news media. The result is both a rhythmically diverse sound piece and a visual document that continuously evolves along with the flow of information published by Mexican and American news outlets.

True/False
True/False is a kinetic sculpture composed of arrays of circular black metal segments set in mechanical columns. Interlocking and rotating around fluorescent light tubes, the cylinders cover or expose the light to display an endless number of patterns. The transformation of the sculpture is based on the shifting elements and their correlation to each other. As the segments do not move independently, for any of the cylinders on a column to change, the segments affected must work in unison to achieve the command. Reminiscent of devices originally used for calculations, such as Turing machines, the sound originates from the mechanical movement of the moving parts thus making the algorithm audible. The rhythm of »true/false« is captivating as variations in the visual choreography result in distinctive changes in its soundscape. Through the generation of algorithmic patterns and the repetition of endless tasks, »true/false« transforms itself into something more than the sum of its elements to reveal the beauty hidden within a basic algorithm.

Binary Supremacy
Binary Supremacy is the continuation of Lutz´s previous album Zwölftonform from 2016. The initial investigation and visualisation of abstract sounds now led to a more concrete, rhythmic and narrating soundscape.

timeLandscape woolrhythms

“timeLandscape – wool rhythms” 2010. Part of timeLandscape series, 2009 – 2010. Video, audio, projector, speakers, custom patch (PD-Gem), sensor, wool engine. Variable dimensions and duration, loop. “timeLandscape – woolrhythms” is an interactive audiovisual installation in which a landscape is depicted from its multiple time possibilities and [re]composed through users’ real time interaction. The installation was developed in Biella, Italy, an area economically attached to textile industry, and deals with the cyclical perception of time and human, linear, interference on it. It gathers nature and artefact, by connecting a physical wool engine to digital imagery of daily cycles. By turning the wheel crank, users generate movement starting the engine. Through a sensor attached to the machine, software calculates the rotation speed, altering parameters for mixing audio and video fragments in real time. Every turn of the machine leads to different time thread combinations in response to the rhythm and speed of each interactor.

FILE FESTIVAL

The Sun never sets
His work is defined in sculptures, installations, drawings and music, but most of the time it‘s a symbiosis of these elements. His artistic practice is based on the creation of compositions with a specific acoustic and physical interaction, where form and sound coexist. The playful, unpredictable aspects of this interaction has his main interest. The specific qualities of music like tone, dynamics, rhythm, timbre and its swiftly immateriality create the poetic counterpart of the physical and visual.

Flesh
Lippard’s practice explores the voice as a medium. Her education in graphic design informs how language can be visually powerful; her texts are visual, rhythmic, and performative rather than purely informative, and her work is conveyed through a variety of disciplines, which include short films, sound pieces, installations and performance.more…

文森特·勒罗伊
北极光环
stone age
Paris-based artist vincent leroy takes movement as the motivation for his work. he prefers this over form, material, or color. instead, he focuses on adding rhythm, pauses, and creating different patterns to set and differentiate every piece. ‘stone age’ is his latest sculpture and is made of fourteen triangular mirrors that move subtly, breaking its surroundings into thin reflections of space. these mirror images deconstruct the environment allowing for different visions of it.
This sculpture situates itself between poetry and technology, generating the opportunity to test visual and physical experiences that relate to space. ‘stone age’ looks like a heavy and rigid structure, but it will surprise the user when it twists and deforms with flexibility and fluidity, creating a delicate contrast. all the movement is created using very low technology.

flicker

Flicker is an immersive electronic environment of generative image and sound. A collaborative work with Oliver Bown. Based on biological models of firefly behaviour, Flicker generates an ever shifting rhythmic, meditative environment to the viewer. Flicker uses 4 channels of synchronised high definition video and 8 channels of sound to immerse the viewer in a phenomenologically rich environment of artificial life. The work is a large-scale agent-based simulation, with each agent providing a rhythmic pulse at regular intervals. Agents try to synchronise their pulse with other agents in their immediate neighbourhood. The collective pulsations of groups of local agents are spatially sonified with int exhibition space. Over time, large groups synchronise at different rates, leading to complex visual and aural structures, syncopating and constant shifting in to a long term complexity.

Rasper
Rasping Music is an audiovisual installation in appreciation of the ignored aural/visual phenomena surrounding our daily lives. It involves new mechatronic instruments that employ some everyday objects of the urban life, shifting the medium in which they normally exist, and formalizing them through patterns of a rhythmic grid. In these instruments, DC motors and actuators are detached from the realm in which they are tools to help run our machines––where their noise is merely the aural artifact of the urban technology––, and turned into amedium for sound/music. In contrast to their everyday location, i.e., hidden inside black boxes of our machines, their bodily existence is fully exposed, flaunting the physicality of their noise. This physicality is further highlighted in arrays of white light, which––unlike the florescent lights of our offices––are not there to help us see things, but to be seen themselves.

MENSKE

Even the standing room only tickets have sold out, and the raging mass of disappointed kids looks like they may start a riot: the atmosphere before Ultima Vez’s performance is akin to a rock concert. Choreographer superstar Wim Vandekeybus’s company has toured the world with their trademark vocabulary of acrobatic, extreme, often violent movement, soaked in multimedia and energetic music. Menske (meaning approximately ‘little human’), their latest work, has all the typical flaws and qualities of classic Vandekeybus. On the conservative end of political intervention, Menske is an explosive concoction of brash statements about the state of the world today, a sequence of rapidly revolving scenes of conflicting logic: intimist, blockbuster, desperate, hysterical. The broad impression is not so much of a sociological portrait, but of a very personal anguish being exorcised right in front of us, as if Vandekeybus is constantly switching format in search of eloquence. Visually, it is stunning, filmic: a slum society falling apart through guerrilla warfare, in which girls handily assume the role of living, moving weapons. A woman descends into madness in an oneiric hospital, led by a costumed and masked group sharpening knives in rhythmic unison. A traumatised figure wanders the city ruins dictating a lamenting letter to invisible ‘Pablo.’ Men hoist a woman on a pole her whole body flapping like a flag. “It’s too much!” intrudes a stage hand, “Too much smoke, too much noise, too much everything!” And the scene responsively changes to a quiet soliloquy. At which point, however, does pure mimesis become complicit with the physical and psychological violence it strives to condemn? Unable to find its way out of visual shock, Menske never resolves into anything more than a loud admission of powerlessness.

Impacts
Tesla coils each fitted with a glass pane and suspended from the ceiling of the exhibition space make up the components of this “live” sculptural installation. The presence of the visitor before each sculptural device activates an audio and visual experience. The visitor’s proximity to the works engages arcs of electricity of variable intensities as well as a rhythmic articulation, generated by the impact of the electrical arc on the glass pane.As a symbolic and sonic source, the Tesla coil’s ability to throw electric arcs has been employed by a wide spectrum of artists. With this new work, Alexandre Burton proposes the use of plasma (loosely defined as an electrically neutral medium of positive and negative particles) as matter and medium itself, circumscribed by a defined frame and articulated through unique programming. In this way, IMPACTS serves as a reminder of the danger and muscle of this marvel while capturing its sublime beauty and rhythmic potential.