Q(A,V,7,M,M2,D4A-21,7,16,13,31,55)

David Young

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Q(a,v,7,m,m2,d4a-21,7,16,13,31,55) – United States

Q(a,v,7,m,m2,d4a-21,7,16,13,31,55) is a quantum drawing generated from actual quantum computer data—entangled qubit values and noise from decoherence, when quantum states collapse into classical reality. Custom code written to interrogate this data searches for visual patterns within quantum behavior. Rather than explaining phenomena, the work creates conditions for felt encounter—building non-mathematical intuition through direct engagement with what these machines produce.

BIO

David Young is a computational artist and researcher investigating quantum computing and AI through aesthetic rather than mathematical means. His work is held in the collections of Kunstmuseum Bonn and Kunstsammlungen Chemnitz and has been featured in Artforum. He holds an MS from MIT Media Lab. He lives and works in New York. 

TROPOSPHERE

Damien Looney

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Troposphere – United Kingdom

A long form piece of very slowly shifting sounds and imagery.

BIO

Damien Looney is an Irish video artist creating real-time, audio-reactive animated works using analog video gear and software. He processes unique sound samples (CRT hums, number stations, defective tape) to drive visuals. His work blends flowing, watercolor-like imagery with glitchy digital decay, evoking the warped textures of old VHS tapes, broken TVs, and vintage computer screens.

PX-2000

Damien Looney

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

PX-2000 – United Kingdom

Encrypted messages from a pocket terminal.

DISCRETE COSINE TRANSFORM

Damien Looney

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Discrete Cosine Transform – United Kingdom

Continuous resampling and re-recording of a single sound source

COLUMBINA

Damien Looney

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Columbina – United Kingdom

The song of an imaginary avian Automaton.

CONFETTI

Chris Barber

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Confetti – United States

Confetti is a generative composition built from a swarm of random walkers, particles that move step by step in unpredictable directions, each trailing a ribbon of bright, saturated squares. Their motion is shaped by Perlin noise, a smooth, natural-feeling randomness often used to simulate organic phenomena, pairing fluid movement with crisp geometric form. With every refresh the field reorganizes itself, never repeating, never still: a celebration of color and structured chance.

BIO

Chris Barber is a generative artist working at the intersection of code and creativity. Using tools like p5.js and openFrameworks, he brings algorithms to life as dynamic, animated digital art. By combining technology, randomness, and a sharp visual sensibility, his work generates unique compositions with every refresh—known for its vibrant palettes, fluid motion, and mesmerizing patterns.

240507: REALITY LENS

Che-Yu Wu

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

240507: Reality Lens – Taiwan

Real-time WebGL meditation where fifteen vortex points distort every pixel through layers of noise, angle, and time. The work makes algorithmic perception visible: there is no unmediated image—every color and edge arrives already refracted. Like liquid marble between order and chaos, it asks how mathematics becomes felt aesthetics, and whether any perception of “the real” is not itself a lens of computation.

BIO

Founder of MonoLab, dedicated to “casting eternal life and emotion in the digital world.” His practice is staked on creating “living artworks”—emergent digital entities that develop, respond, and persist through an improvisational loop between algorithm, audience, and author. By exploring “Digital Holobionts”—co-evolving systems of humans, AI, and code—Wu cultivates semantic lifeforms as a new category of contemporary art, bridging engineering with poetic philosophy.

STILL LIFE

Casey Reas

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Still Life – United States

The Still Life software works (2015–2023) transpose the still-life tradition in painting into a generative, computational register. Each of the ten works generates a kinetic still life composed of one type of Platonic solid—the tetrahedron, cube, octahedron, dodecahedron, or icosahedron—realized in both RGB and HSB color systems. Long regarded as elemental structures of matter, these logical and essential forms link antiquity’s metaphysical geometry to the pragmatic origins of computer graphics.

BIO

Casey Reas is an artist and educator based in Los Angeles. His work spans software, prints, drawings, and installations that explore the relationship between computational systems and contemporary visual culture. Reas co-founded Processing (2001), the Processing Foundation (2012), and Feral File (2020). He is a professor in UCLA’s Department of Design Media Arts.

MICROIMAGE

Casey Reas

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

MicroImage – United States

The MicroImage (2003–2008) software consists of machines interacting in real time to create ever-changing surfaces, scaling the system until the surface becomes a dense field. As thousands of lines accumulate, new formations emerge: clusters, swarms, and textures that oscillate between microscopic and cosmic registers. The resulting images suggest natural systems without representing them directly—visualizations of behavior rather than depictions of form.

STRANGE PROJECTORS #448 DREAMING

Brandon Eversole

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Strange Projectors #448 Dreaming – United States

Video is treated as a physical material. Frames are stacked and remapped into volumetric space, allowing time to be cut into and reshaped. Dreaming introduces a fluid, current-like motion in which forms move through a stream of images. Recorded footage is transformed into spatial structures that exist between moments.

BIO

Brandon Eversole is a visual artist based in San Francisco, working with moving images, treating time as something that can be shaped. He stacks frames, remaps footage into volumetric space, and cuts through time to shape moving images as form. His work has been exhibited on the Salesforce Tower in San Francisco and presented internationally through exhibitions and collaborative projects.

ACW SUNAOSYSTEM

Ayumu Nagamatsu

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

ACW SunaoSystem – Japan

This work uses a sound file within a custom audiovisual system to generate and record visuals. Instead of CG software, all forms are produced in C/C++ with openFrameworks. The program detects audio attacks and autonomously changes scenes, effects, and parameters. Drawing on early CG methods such as randomness, coordinate transforms, continuous mappings, and fractals, it creates real-time images that are both geometric and photorealistic. The source code is fully open online.

BIO

Studied art history before moving into app development and generative art. He studied at Keio University, Japan, Kunstuniversität Linz, Austria, and in 2018 completed an MA in Media Art at IAMAS, Japan. His work, inspired by Generative Art and Visual Music, combines computational geometry with sound, video, interaction, and real-time environments.

ARRELS #64

Anna Carreras

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Randomic Dimension
Electronic Language International Festival

Arrels #64 – Spain

Arrels has a strong relationship to the Spanish landscape, connecting drawing, code, and repetitive loops to the environment through a cycle of growth and decay.

With nature as its inspiration, it becomes a carefully choreographed generative animation. In Arrels, growing roots in the colors of earth and sky collide in a vibrant dance. New growth in the arid soil overtakes the old, and the cycle continues.

BIO

Anna Carreras is a generative artist focusing her work on the use of algorithms to create visuals that depict generic concepts, foster memories, and evoke new discussions.

Working from scratch, she codes “dumb” minimal procedural systems that explore the intrinsic characteristics of the medium, showing how simple rules can produce complex, unexpected, beautiful results that question our understanding of technology, life, and relationships.

PLANET GARDEN

Studio Lifeforms

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Games
Electronic Language International Festival

Planet Garden – United States

Planet Garden is a real-time interactive world exploring the convergence of artificial intelligence, ecology, and planetary imagination. The project invites visitors into a speculative environment where technology becomes a medium for sensing, caring for, and rethinking the Earth as a living system.

BIO

Studio Lifeforms is a Los Angeles-based studio founded by Damjan Jovanovic and Lidija Kljakovic. Working across games, simulation, architecture, and moving image, the studio creates speculative worlds that explore the relationship between technology, ecology, artificial intelligence, and new forms of spatial imagination.

BIONIC BAY

Kepler Interactive

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Games
Electronic Language International Festival

Bionic Bay – United Kingdom

A scientist uses a unique teleportation instrument to escape an ancient biomechanical world filled with imaginative technology, deadly traps, and hidden secrets.

BIO

The art and design of Bionic Bay was led by Finnish solo developer Juhana Myllys, whose previous projects as an artist and a designer includes indie hits Badland and Badland 2. The technical side was developed by Psychoflow Studio.

CAIRN

Game Bakers

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Games
Electronic Language International Festival

Cairn – France

Reach an unexplored summit in this climbing and survival game from the creators of Furi and Haven. Plan your route and climb wherever you choose, carefully managing pitons and resources to survive the unforgiving Mount Kami. Discover what Aava is willing to sacrifice to complete the greatest ascent of her life. 

BIO

Independent game studio dedicated to creating memorable games that make players feel alive and energized. They approach game development the same way they approach cooking: with a lot of heart, unique recipes, and a passion that shines through in every project. The studio focuses on developing original creations and self-publishes its own titles.

ECHOVISION

Jiabao Li & Botao Amber Hu

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Augmented Realities
Electronic Language International Festival

EchoVision – China

What is it like to be a bat? EchoVision is a mixed reality art experience that simulates echolocation, immersing participants in the perceptual world of bats. Exhibited in a natural habitat, it shows mixed reality’s potential to foster empathy for non-human species. The work explores eco-phenomenological mixed reality, opening paths for ecological education and more-than-human perspectives through embodiment.

BIO

Botao “Amber” Hu is a social computing researcher and experiential futures designer. He creates projects using social mixed reality and directs the Reality Design Lab, exploring soma, speculative design, and spatial computing.

Jiabao Li is an artist and Associate Professor at Northeastern University. Formerly at UT Austin and Stanford, she creates works on climate, interspecies co-creation, and perception using AR/VR, wearables, robots, performance, and installations.

TO KNOW YOU BY HAND

Lawrence Kudria

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Augmented Realities
Electronic Language International Festival

To know you by Hand – Belgium / Ukraine

To Know You by Hand is a participatory VR experience where two visitors meet only through their hands and heartbeats. In a dark virtual space, identity dissolves—no names, no faces, only movement. This silent encounter explores intimacy and trust beyond language. Strangers discover their own rhythm through gesture, uncertainty, and touch, as anonymity becomes a condition for connection rather than a barrier.

BIO

Lawrence Kudria is a Ukrainian-born media artist working at the intersection between immersive media, somatic interaction, and poetic minimalism. Through sensorium studio.lab, they create participatory installations shaped by biofeedback, touch, and co-creation, where perception becomes shared and embodied.

IPSERIA

Isabell Bullerschen

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Augmented Realities
Electronic Language International Festival

Ipseria – Switzerland

An unusual experience awaits recipients: a virtual reality with no digitally-generated content. ipseria and its virtual environment have their origin in the physical realm. Various materials like clay, plasticine and latex have been modeled, as well as organic materials, such as lichen or slime molds, have been collected and cultivated. By using 3D scanners the sculpted, collected, and grown elements were digitized, then processed in the 3D program Houdini and finally combined in the gaming software Unity to create a 360° VR experience. Hence, the virtual and physical worlds are intertwined.

BIO

Isabell Bullerschen (she/her) is interested in slimy organisms and the construction and blending of realities. Through installations and videos, she explores the potential that lies in the deconstruction and rewriting of narratives. She employs a meta-surgical method in which her work serves as a scalpel to dissect anthropocentrism. 

CREDITS

Concept/Script/Direction/Modelling/3D Scans/Production: Isabell Bullerschen

3D Animation: Florian Baumann 

Game Design: Sebastiaan Cator

Programming: Arno Justus

Sound: Aske Lyck Pedersen and Paloma López & Leslie García (interspecifics)

Voice Over: Netanya Woodard, Molly Schaad 

Flute: Chantal Dubs

Scent: Andreas Wilhelm 

Seating: Jope Schneider

Project Advisor: Roger Meier

With the support of: Swiss Art Council Pro Helvetia, Kanton Zürich Fachstelle Kultur, Stadt Zürich Kultur, Ernst Göhner Stiftung

OPERATOR

Fun and Awe

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Augmented Realities
Electronic Language International Festival

Operator – United Arab Emirates

OPERATOR is an XR music production tool for Apple Vision Pro. Inspired by industrial design and architectural models, it allows for an intuitive interactive experience that is closer in its mechanics to arranging the building blocks than it is to using the audio production software. The app uses the language of simple spatial interactions and moves away from the traditional flat-screen experience — each created composition exists as a sculpture integrated into a real space through the XR mode.

BIO

A studio with a diverse experience that includes artists, engineers, writers, and designers, they build applications, design interactions, and develop concepts for XR that are focused on humans and our shared experience. Our boutique-sized team, founded by designer and director Maxim Zhestkov, explores the possibilities of the XR medium independently and in collaboration with brands.

BODY SKETCHES

Zach Lieberman

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

Body Sketches – United States

American artist Zachary Lieberman explores the poetry of code. In this interactive installation, visitors’ movements and gestures are transformed into digital drawings generated in real time. Every interaction is unique and disappears in the same moment the spectators change position. 

Within the exhibition, the work serves as a metaphor of a personal imprint in the future. Every visitor leaves a trace that instantly changes the environment around them, becoming part of a shared story.

BIO

Zach Lieberman is a pioneer of creative coding, turning invisible forces into interactive digital poetry.

BIOVOLT

Yves Peitzner

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

BIOVOLT – Germany

BIOVOLT is an interactive light installation that explores the relationship between human interaction, technology, and electricity. The 15-meter structure, composed of LED strips, responds to touch and movement, symbolizing the connection between human energy and electrical power. Participants influence the installation through motion sensors, highlighting the synergy between human intention and technology.

BIO

Munich-based artist, creative director, and educator. His practice explores how data, human interaction, and environmental conditions take spatial form in responsive installations and sculptural environments. He works across exhibitions and spatial experiences, often collaborating with studios, brands, and cultural institutions. Using light, sound, moving image, and computational media, he creates works that explore how we perceive and experience the world.

SOFT WATERS

Xenoangel

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

Soft waters – France / England / Serbia

Soft Waters is a real-time interactive artwork that uses the accessible language of videogames alongside eco-feminist writings in an experimental and playful way. The artwork follows the story of a water goddess on a lake in the mouth of an ancient volcano. The story is set between the moment the volcano went dormant and the afterparty of a solar punk eco-rave, sometime in the near future. The project is an exploration of non-linear time through the circulation of watery bodies.

BIO

As an artist duo Xenoangel, Marija and Sam explore new relationships between humans and non-humans. Their practice is based on world building and their work intersects disciplines such as real-time generative animation, videogames, painting, physical installation, writing, and music. 

A WALLED CITY

Weidi Zhang & Rodger Luo

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

A Walled City – China / United States

A Walled City is an interactive AI installation that transforms personal and collective visual memories into a decentralized city. Grounded in the spatial logic, zoning, and aesthetics of the historical Kowloon Walled City (Hongkong), a self-built hyper-dense enclave that grew in a legal and political void from the 1950s to 1993, the work builds a multi-agent AI system to turn participant-uploaded images into architectural chambers, forming a living structure where data, memory and history converge.

BIO

Weidi Zhang is a new media artist and designer based in Los Angeles and Phoenix. She is a tenure-track Assistant Professor of Immersive Experience Design at the Media and Immersive eXperience (MIX) Center at Arizona State University.

INEVITABLY BLUE

Sophia Bulgakova

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

INEVITABLY BLUE – Ukraine

Interactive installation that invites the audience, one by one, to participate and get inside the composition of coloured light and levitative movements of the swing. The participant undergoes, losing the senses of reception, perception, and proprioception, entering a space that only consists of colour, own thoughts, projections, and imaginations.

BIO
Sophia Bulgakova (born 1997, Odesa, Ukraine) is an ArtScientist, interdisciplinary artist and activist currently based in the Netherlands. She works with art, technology, and contemporary social structures, focusing on the relationship between cultural identities, perception, and imagination. Through various sensorial inputs in her installations and performances, she engages viewers, impacting their ways of perceiving reality and exploring new possibilities beyond it.

EL MACROSCOPIO

Project Aurora

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

El Macroscopio – Colombia

Using the movement of your hands, manipulate a real-time universe simulation and blur the boundaries between scales, from the astronomically large galaxies to the tiniest particles of life. Become the composer of your own visual and auditory experience, as you create a unique and unforgettable journey for yourself and those around you under the dome.

BIO
Daniel Shambo is an award-winning art director and immersive media artist blending animation, creative coding, and new media design to craft visually poetic, sensorial experiences.

FEATHERS

Parse/error

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

FEATHERS – France

FEATHERS is a delicate encounter between human and digital, entering into dialogue with the viewer by reacting to their hand movements, modulating shape, rhythm, and colors. A gentle and immersive sensory pause, inspired by organic movements of nature, like schools of fish, bringing to life thousands of simple shapes evolving in symbiosis. It questions the place of the individual within a collective whole, how trajectories intersect, leave a trace, and influence one another.

BIO
Parse/Error (Fabien Bouchard) explores the boundary between art, design, and technology, recreating emotions from omnipresent data flows. With a background in biology and information technology, he works at the interface between technology and human sensitivity, questioning our relationship with the digital world through immersive installations, generative art, light sculptures, and real-time data.

TRANSMISSIONS INTO THE VOID

Non-Linear

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

Transmissions into the Void – India

Transmissions into the Void explores the temporal nature of improvisation and the inevitable decay of information, transforming the space into an immersive sound and light machine. Influenced by science fiction and the modular design principles of modern engineering, the room becomes a dynamic interface between viewer and technology. Ultimately, the piece serves as a meditation on the temporal fragility of all information and data—whether biological, digital, or analog—and how time irreversibly erodes it.

BIO
Non-Linear is the creative project of Dennis Peter, an interaction designer and artist redefining the intersection of technology, nature, and creative expression. With a background in architecture and an ever-evolving curiosity, his work spans kinetic installations, generative art, and algorithmic music. From hacking old calculators as a child to crafting immersive, interactive experiences, Dennis continuously expands the boundaries of digital creativity.

MIMICROCOSMOS

Lepša Studio

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

MiMicrocosmos – Czech Republic

Interactive installation inspired by a world that we normally see only under a microscope. It is a physical game with a childish design that, when rotated, transforms the installation into a playful and intuitive experience.

BIO
Lepša Studio is a creative collective that brings together fine art, scenography, spatial design, and contemporary technology. The studio was founded in 2026 as a new creative project building on the team’s long-standing collaborative experience. The studio’s key principles are originality, experimentation, interdisciplinary collaboration, and a focus on site-specific work. The creators of the MiMicrocosmos installation are Josef Lepša, Jiří Rouš, Marek Volf, and Michal Vrba.

ANCESTORS

Hanna Haaslahti

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

ANCESTORS – Finland

ANCESTORS is an intimate and one-of-a-kind immersive experience, where you become progenitor of a virtually generated genealogy. At the heart of the experience are your descendants, connecting you and other visitors as ancestors of a unique, one-time virtual lineage.

BIO
She is an artist and director working with digital images. Her central tool is computer vision, and she explores how machines shape social relations. Her artworks generate new forms of narrative interaction between people, investigating the possibilities of human-machine-human collaboration. Her practice is inspired by scientific research on perception, vision, and machine learning/artificial intelligence, as well as by everyday observations of life in the contemporary age of technological supremacy.

ALGORITHMIC PERFUMERY BY EVERYHUMAN

Frederik Duerinck

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

Algorithmic Perfumery by EveryHuman – Netherlands

Algorithmic Perfumery began with a simple question: what if every human could create their own scent? Designed as an object of curiosity, the installation invites people into a dialogue with themselves. Through interaction with an AI, visitors explore memory, imagination, preference and identity, creating a unique fragrance along the way. Scent is one of our most profound senses. It shapes emotion, evokes memory, and influences us long before we become conscious of it. By combining technology and perfumery, Algorithmic Perfumery creates a space for curiosity, reflection, and self-discovery.

BIO
Amir Admoni and Fabito Rychter have collaborated for over 10 years, creating films, TV shows, and theatrical works marked by a distinctive visual style and singular storytelling. The duo has gained international recognition, earning 71 awards and presenting their work at more than 120 festivals. Gravity VR is their first joint venture into virtual reality, followed in 2021 by Lavrynthos, their second VR project.

GRAVIDADE VR

Amir Admoni & Fabito Rychter

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

 Gravidade VR – Brazil

Gravidade VR takes place in a surreal world where everything, including the public, is constantly falling. In this universe, with no walls, horizon, or sense of up and down, there is no room for vertigo or fear. Within this setting, we meet Osório and Benedito, two brothers who have spent their entire lives in this endless fall. But, as with all things in life, this journey is about to come to an end.

BIO
Amir Admoni and Fabito Rychter have collaborated for over 10 years, creating films, TV shows, and theatrical works marked by a distinctive visual style and singular storytelling. The duo has gained international recognition, earning 71 awards and presenting their work at more than 120 festivals. Gravity VR is their first joint venture into virtual reality, followed in 2021 by Lavrynthos, their second VR project.

PUPPET

1024 Architecture & Vitalic

FILE SÃO PAULO 2026: Inter-creativity – Art and Technology – Installations
Electronic Language International Festival

Puppet – France

Puppet is an innovative audiovisual installation that merges gaming mechanics with live music composition. At the crossroads of videogame and digital instrument, this interactive piece invites visitors to manipulate a puppet-like character that functions as a sound synthesizer. Each movement or gesture of the puppet triggers a corresponding musical element—melody, rhythm, or effect—allowing the participant to compose a track in real time. 

BIO
1024 operates at the crossroads of art and architecture, combining spatial practices, digital technologies, and visual creation. Designing architectural and digital works, 1024 orchestrates partitions of sound and light in space through computer codes.

FILE 2026

Registration is now closed for participation in  FILE – Electronic Language International Festival 2026 , one of the most important events dedicated to art and technology. FILE invites Brazilian and international artists , as well as researchers, educators, and creators , to submit original artistic works and educational proposals — lectures, workshops, and training activities — focused on contemporary technological poetics.

Applications were open until February 19, 2026 .

With 26 years of experience , FILE is a non-profit cultural organization dedicated to promoting creation, research, and experimentation in Art and Technology , bringing together artists, scientists, programmers, and thinkers around exhibitions, events, and publications. The selected projects will be part of the FILE 2026 program, scheduled to take place at the FIESP Cultural Center in São Paulo, between August 19 and October 11, 2026,  with the possibility of parallel activities in other Brazilian states.

The call welcomes proposals in a wide variety of languages ​​and formats, intended for indoor or outdoor environments , in which the aesthetic experience emerges from the encounter between interfaces, data, space, and body . FILE 2026 seeks projects that propose new forms of perception, interaction, and critical and poetic reflection , expanding the debate on the aesthetic, cultural, social, and sensory impacts of contemporary technologies.

Access the registration form.

FILE 2026

Art and Technology Festival | Installations: artistic systems, indoor  or  outdoor , in which the aesthetic experience emerges from the dynamic relationship between interface, data, environment, and body.  Digital technologies, technologies with artificial intelligence, metamaterial technologies, random technologies, sensors, algorithms, and responsive systems are employed by the artist as structural elements of the work, which is completed in the encounter between the work and the participant.

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Augmented and Virtual Reality Festival: brings together immersive practices in simulated three-dimensional environments and expands the perception of reality through the superimposition of digital layers onto physical space.  The works use mobile devices, glasses, and spatial interfaces to insert virtual objects, narratives, and data into the real world or transport the public to sensory and interactive digital universes. These languages ​​challenge the boundaries between the material and the informational, exploring subtle or monumental interventions, creating multidimensionality in the environment. Issues of presence, body, narrative, memory, surveillance, and technological mediation are central, configuring a fertile field of aesthetic and critical investigation into contemporary ways of inhabiting and perceiving space.

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Digital Architecture and AI Festival :  investigates the use of computational technologies in the conception, visualization, and experience of space.  Works may involve virtual environments, simulations, digital facades, interactive architectural installations, and discrete systems. Algorithms and data become design tools. It is a practice that articulates art, architecture, and technology.

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Robotics and AI Art Festival: Mechanical, autonomous, and intelligent systems as aesthetic agents. The works explore movement, behavior, and interaction between humans and machines.  Sensors, actuators, and artificial intelligence structure the experience. These creations raise questions about autonomy, artificial life, and technological ethics. The machine becomes a palpable presence in the artistic space.

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

FILE 2026 | GENERAL REGULATIONS

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

Electronic Music and AI Festival: brings together interconnected fields of contemporary sound art, in which sound and technology operate as structuring elements of the aesthetic experience.  These approaches explore sound as spatial, sensory, and conceptual matter, articulating active listening, bodily presence, and synesthetic relationships between audio and video, through digital systems, generative intelligence processes, algorithms, field recordings, and audiovisual performances.

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Animation Festival | Digital Animations and AI Animations: investigate movement as an expressive language, using computational tools and experimental aesthetics.  The works can explore abstract or figurative narratives, often hybridized with data, algorithms, and simulations. Technology expands the formal and temporal possibilities of animation. It is a field that articulates art, cinema, and computer graphics. Movement becomes a means of visual thought.

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

Game Festival  |  Digital Games and AI Games: explore interactivity, rules, and narratives as aesthetic elements.  These works go beyond entertainment, proposing critical, poetic, or experimental experiences. Game mechanics become conceptual devices. Graphic technologies, artificial intelligence, and interactive systems structure the experience. The player is a co-author of the work, actively participating in its construction and interaction.

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

FILE 2026

LED SHOW Festival: a program dedicated to exhibiting digital works specifically designed for the Digital Art Gallery, an LED panel located on the facade of the FIESP building, Avenida Paulista, 1313.  The festival investigates the relationship between moving image, light, architecture, and the city, exploring the expressive potential of luminous devices as an artistic medium. The works dialogue with the three-dimensionality of the facades, the urban scale, and the flows of public space, transforming the building into a narrative and sensory support. By integrating technology, art, and urban context, the LED SHOW proposes immersive visual experiences that reconfigure the perception of collective space and expand the field of contemporary audiovisual art. Download the technical specifications of the LED Show file.

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

FILE 2026 | GENERAL REGULATIONS

64 CCFL

The installation is mainly made from so called cold cathode fluorescent lights which normally are used as backlights for computer screens.
A micro controller, in combination with custom made electronics, regulates the power supply and therewith the height of the illuminated part of each tube.

ויליאם פורסיית
ウィリアム·フォーサイス
威廉‧科西
윌리엄 포사이드
Уильям Форсайт
scattered crowd

Thousand of white balloons, suspended in a billowing wash of sound; an air-borne landscape of relationship, of distance, of humans and emptiness, of coalescence and decision. In the gorgeous, breathless space that is choreographer William Forsythes «Scattered Crowd», the viewer inhabits and alters, through their stillness or speed, their sense of proportion and time, the configurations that make up this constantly shifting, ecstatic world.

Ruckazoid
Dont let me go

Ruckazoid – Don’t Let Me Go (She ain’t mad at it) is an experimental, surreal journey into alternative graphical realities, planets and species. It depicts the need of lifeforms to make contact, but subliminally points out the fears of providing oneself as a target at the same time. We as humans search for other species in deep space, but what happens if we actually find them?

فلوريان هيكر
フロリアン·ヘッカー
Sound Installation

Event, Stream, Object

In his installations, live performances and publications, Florian Hecker deals with specific compositional developments of post-war modernity, electroacoustic music as well as other, non-musical disciplines. He dramatizes space, time and self-perception in his sonic works by isolating specific auditory events in their singularity, thus stretching the boundaries of their materialization.
Their objectual autonomy is exposed while simultaneously evoking sensations, memories and associations in an immersive intensity. Some of his works incorporate psycho-acoustic phenomena, disorienting listeners’ spatial perceptions and expanding their conception about sound. Hecker’s most recent recording, Speculative Solution ( Editions Mego, 2011), brings together Hecker’s sonic practice and psychoacoustic experimentation with philosopher Quentin Meillassoux’s concept of ‘hyperchaos’ – the absolute contingency of the laws of nature.
During his residency at MIT, Florian Hecker will research a new sound piece that takes the concept of the “auditory chimera” as point of departure. Originally developed at MIT by Bertrand Delgutte, senior research scientist at the MIT Research Laboratory of Electronics, the concept of the auditory chimera inspires an exploration of the relationship between pitch perception and sound localization. Hecker will create a text and sound piece that incorporates the recordings of material read by students. Using an anechoic chamber he will work with students to explore the experiential nature of psycho-acoustic practice.

Джереми Бэйли
제레미 베일리
ג’רמי ביילי
ジェレミー·ベイリー
The Future Of Television

Since the early noughties Bailey has ploughed a compelling, and often hilarious, road through the various developments of digital communications technologies. Ostensibly a satire on, and parody of, the practices and language of “new media,” the jocose surface of Bailey’s work hides an incisive exploration of the critical intersection between video, computing, performance, and the body.

ايمانويل مورو
toki

“toki” (which means “time” in Japanese) project investigates the universal element of time, expressed through the work composed of an array of sticks presented in various hues.
Each stick moves in circular motion through the implementation of magnets, which is an abstract representation of time.

impossible objects

TMRRW

TMRRW(dot)net combines predictable and unpredictable change in order to form a cubic time capsule of tomorrow’s relics. Predictions arise by mapping the course of natural disasters and desiccated resources, and non-predictions are postulated from science fiction and myth. The resulting guided tour of The Last Gallery presents attributes of artifactual design and nostalgia: we will remember impact events and Y2K12 hysteria; thirst, wetness, and all things glossy; sitting, leisurely commodities, and decoration. This piece intends to simulate future documentation of the past, while simultaneously proposing precursory relics.