LAST_MOVIE_ON_EARTH_RUN_01

Andres Isaza Giraldo

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

last_movie_on_earth_run_01 – Colombia / Portugal

Following the extinction of humanity, a machine revives the life of its programmer and all his ancestors. In a matter of seconds, it has primal dreams of an exuberant pilgrimage of which almost no ruins remain.

BIO

Filmmaker born in Colombia. He studied Film and Television at the National University of Colombia and Multimedia Art at the University of Lisbon. He directed the short films Medias blancas (2017), Sereno (2022) and The Last Film on Earth (2023), which premiered at festivals such as FICUNAM, FICCI and the Beijing International Short Film Festival. His work explores cinematic time in the personal world.

AETHRIMUS

Jaspreet Singh

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

Aethrimus – India

A mysterious object known as 3I Atlas, expected to pass harmlessly through space, suddenly changes course and impacts the Moon, destroying a U.S. satellite in the process. The unexplained event triggers global alarm. A rapid-response mission is launched to investigate the anomaly before it threatens Earth. When the team reaches the Moon, they uncover a shocking truth: the object is not a comet, but an alien spacecraft hidden beneath the lunar surface.

BIO

Jaspreet Singh is an independent filmmaker from India with a strong passion for science fiction, mystery, and experimental storytelling. His work explores themes of the unknown, technology, and human perception, blending cinematic visuals with emerging digital and AI-assisted filmmaking tools. Jaspreet creates atmosphere-driven narratives that challenge traditional storytelling and invite audiences to question reality, intelligence, and existence.

AWAITING OBLIVION

Natalie Maximova

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

Awaiting Oblivion – England

Awaiting Oblivion explores the collapse of simulated reality in The Last of Us II, revealing spaces where boundaries between representation and existence dissolve. As the world fractures into glitches and voids, it exposes the instability of meaning, unmasking the illusion of coherence and confronting the observer with absence at the core of perception. A poetic voiceover amplifies the dissonance between digital precision and fluid, ephemeral ecological and philosophical inquiry.

BIO

Natalie Maximova is a London-based artist and researcher. Her work probes how simulated worlds produce and break meaning. Using machinima, game engines and post-photographic methods, she investigates glitches, edges and out-of-bounds zones, exposing the design logics and politics of mediation that shape how we see and inhabit digital spaces.

DREAM FACTORY

Mark Amerika, Chad Mossholder & Will Luers

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

Dream Factory – United States

DREAM FACTORY unfolds across five movements, beginning with the molding of artificial forms as they imagine themselves into embodied existence and culminating in these entities speaking directly to viewers in modulated human voices. The work traces a complete evolution, from foundational apparitions constructing a sense of form, through experimental social embodiment, surreal encounters, and early attempts at speech that surface as Dada-inflected sound poetry, to articulations of self-reflection.

BIO

Mark Amerika is author of thirteen books including his most recent title, My Life as an Artificial Creative Intelligence (Stanford University Press, 2022). He is a Professor of Distinction at the University of Colorado. Will Luers is a digital artist and writer working with AI cinema, recombinant storytelling, and computational media. Chad Mossholder is a BAFTA-nominated composer and sound artist whose experimental electronic music is critically acclaimed.

THE MAGIC ROBOT

John Butler

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

The Magic Robot – England

A tale of technological unemployment, only this time it’s the robots who are losing their jobs.

Loosely based on Upton Sinclair’s ‘The Jungle’, the Magic Robot traverses the worlds of bonded labour, industrial espionage, fine art and spirituality in his search for ‘Self‘. The Magic Robot is a work of Bureaucratic Science Fiction, confirming that we are living in a spreadsheet, not a simulation.

BIO

Studied Drawing & Painting and Electronic Imaging at Duncan of Jordanstone College of art, Dundee.

Lives and works in Glasgow as 3D animator. His personal work makes extensive use of CGI, motion capture, and, lately, ‘Interrogative Fashion’.

Has exhibited and screened media art work extensively in the UK and abroad, and has produced work for broadcast in UK for BBC2 and Channel 4.

THE FLAVOUR OF KIEBEBE

Andrés Brisson

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

The Flavour of Kiebebe – Argentina

Two wandering souls abandon their lives of luxury and embark on a journey into the unknown in search of their ideal world. Along the way, they encounter fire, water, and an omen. Without trying to resist, they surrender to it as in a dream, blurring the boundaries of reality. A poetic exploration of desire, loss, and transformation.

BIO

Andrés Brisson is an audiovisual artist and composer born in 1988 in La Plata, Argentina, and based in France. He was an artist-in-residence at the National Museum of Modern and Contemporary Art of South Korea (MMCA), and his works have been exhibited in Argentina, Brazil, Mexico, France, and South Korea. His work focuses on immersive and transdisciplinary projects.

LITTLE MARTIANS: DEAR HUMAN, MY MUSE

Vanessa Rosa

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

Little Martians: Dear Human, My Muse – Brazil

Little Martians are future beings who claim to be the creators of our reality. One of them wants to apologize.

This film is created with handmade ceramic pieces that are transformed into AI-powered avatars in a sci-fi universe. Using a variety of AI techniques the sculptures become generative characters that can tell their own stories. The film is a character introduction for Verdelis, a plant humanoid Little Martian who lives in an abandoned biodome on Mars and has a deep empathy for humanity.

BIO

Vanessa Rosa is a Brazilian-born, US-based visual artist whose work seamlessly blends physical and digital media to create immersive storytelling experiences. With roots in street art, her practice has evolved to encompass murals, ceramics, projection mapping, and AI-assisted art, often exploring themes of world history, cultural exchange, and speculative futures.

DEEP-SKIN – À FLEUR DE PEAU

Sandrine Deumier

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

DEEP-SKIN – à fleur de peau – France

DEEP-SKIN – à fleur de peau is a speculative fiction in which two characters engaged in an online dialogue have the opportunity to explore a new form of intimacy where touch would no longer have a reason to exist, but where other modes of relationship would be put in place through another skin, more capable of emotionally and psychologically touching the human spirit: a kind of even more tactile skin, connected to new emotional depths.

With the support of Absolute Art AIR (Taiwan)

BIO

Sandrine Deumier is a multidisciplinary artist working in the fields of performance, poetry and video art whose work investigates post-futurist themes through the development of aesthetic forms related to digital imaginaries.

LIL~MÉR~MAID~~ ~

S4RA

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

lil~mér~maid~~ ~ – Portugal

Emerging from the liquid space between myth and simulacrum, a mermaid who once gave up her voice and tail reappears multiplied across digital surfaces, where the body fragments and expands through states of desire and silence. An echo, foam and ghost of an unstable presence. It unfolds a restless hybridity, haunted by scripted roles and metamorphosis to exist in the age of hyperreality.

BIO

S4RA works with video installation and immersive digital environments. Explores consensual power relations, desire and confinement, crossing the political body with liquid and post-capitalist landscapes. Waves are imagined as an affective system and interface of information — an economy between pleasure & surveillance. Moves in cycles of liberation, where the virtual environment is simultaneously territory.

KOJI

Robbie McFadzean & Glen Johnston

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

Koji – United Kingdom

Koji has been entrusted an impossible task by his late Master.

He is the last remaining hope of defeating an ancient evil and restoring balance to his world.

BIO

Over the course of two years, Glen and Robbie combined their expertise in live-action filmmaking, fight choreography, and animation to produce this fantasy action short.

By integrating faceted animation with detailed reference footage and a transcendent score, they have brought the world of Koji to life with exceptional precision.

BLU – LONG NIGHT OF THE SOUL

Ricardo Druskic & Saša Peševski

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

BLU – Long Night Of The Soul – Bosnia and Herzegovina

Inspired by Jungian psychology, the animated film follows BLU as he enters Xanthea 2502, a realm inhabited by ghosts, archetypes, and mythological beings. In this symbolic universe, BLU confronts his inner demons and undergoes a psychological transformation. The narrative is introspective rather than linear, emphasizing atmosphere, movement, and silence, with sound design still in development.

BIO

Rikardo Druskic is a multidisciplinary experimental artist working across painting, digital animation, and virtual reality. He is the creator of the sci-fi art cycle Xanthea 2502, exploring mythology, AI, and subconscious realms.

Saša Peševski is a director and professor at the Academy of Arts in Sarajevo, specializing in acting, theater, and film direction while mentoring emerging artists.

ALGUMA COISA COM PLUTÔNIO

Raoni Assis

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

Alguma Coisa com Plutônio – Brazil

Recife in dystopia. A social critique, a clash of realities, about apathy disguised as fiction and dystopia. Characters lurking in the face of the end that will come with the overheating. A familiar story, perhaps too familiar.

BIO

Raoni Assis is a visual artist from Olinda/PE, an illustrator and comic book artist who works with films, murals, sculptures, tattoos, and various artistic techniques. He publishes in Brazil and abroad, directed two award-winning animated short films, and created visual identities for major cultural events. He is the creator of Casa Balea and the production company A Casa do Cachorro Preto.

THE ALIGNMENT PROBLEM

Primo Filmes

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

The Alignment Problem – Brazil

A creator and his AI creation navigate the complex labyrinth of aligning artificial intelligence with human values. This experimental short film uses the Alignment Problem as a guiding thread in a dialogue between a male creator and a female AI,  exploring his efforts to mold it to reflect his worldview.

BIO

Guilherme Peters is an artist with international exhibitions and co-director of Proxy Reverso, awarded at the VII Semana dos Diretores. Matias Mariani, a graduate of NYU Tisch, has directed films screened at the Berlinale and released on Netflix. Roberto Winter is an artist, developer at Studio Olafur Eliasson, and co-director of award-winning films. Based in São Paulo, Primo Filmes has been producing works screened at Cannes, Berlinale, and Sundance for decades, in addition to more than 150 episodes of series in Brazil and abroad.

DESCENT

Peter Burr & Mark Fingerhut

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

DESCENT – United States

In 1562, Pieter Bruegel the Elder completed The Triumph Of Death, a panorama where black smoke blots out the sky, dead fish litter the shore, and skeletons test a myriad of death techniques. Over 200 years earlier, the Black Death wiped out half of Europe’s population, triggering upheavals that shaped medieval history. Alongside Mark Fingerhut and Forma, Burr created DESCENT, a desktop application that meditates on this darkness through a spiraling digital plague—ending with a single eye watching the rats destroy themselves.

BIO

Peter Burr is a Brooklyn-based artist whose immersive environments transform computational systems into emotional, sensory experiences. Working across video, software, and installation, he explores the relationship between human-machine interfaces and the systems that shape them. A Guggenheim Fellow and Creative Capital grantee, his work has been exhibited internationally at institutions including MoMA, the Whitney, and Centre Pompidou.

Mark Fingerhut is a New York-based artist, programmer, performer, and writer whose work spans software art, video, installation, and live digital performance. Using code, choreography, humor, and experimental storytelling, he creates works that explore network culture, computer interfaces, and the poetics of everyday digital experience.

A HERANÇA

Pedro Pisco

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

A Herança – Brazil / Portugal

In a world where light symbolizes faith, the main character sees his relationship with his father crumble due to an incurable disease. Years later, facing the same fate with his own son, he learns to transform the trauma into love and acceptance, as it is the only legacy left by his father.

BIO

Pedro Jacob Pisco is a 3D artist and filmmaker born in Lisbon, passionate about creating and telling stories through animation. With a background in Multimedia Arts, he has worked on advertising, film, and game projects, always exploring striking visuals and emotional narratives.

HALLUCINATION

Milton Montenegro

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

Hallucination – Brazil

When veteran cartoonist Joe K. is falsely accused of plagiarism, his life turns into a Kafkaesque nightmare.

His only hope is Onion-Man, the odd superhero he has been drawing for decades, who magically escapes from the comic books into the real world.

Together, they must outwit an authoritarian AI and unleash the deadliest of superpowers to avoid prison.

BIO

Michael Betancourt is a distinguished Cuban-American (Latinx) critical theorist, moviemaker, and research artist known for his work in the fields of digital capitalism, motion graphics, and Glitch Art; a pioneer of Glitch Art, he has made visually seductive digital art since 1990 that brings the visionary tradition into the present by glitching still and moving images. 

ZERSETZUNG

Michael Betancourt

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

Zersetzung – United States

The term “Zersetzung” [decomposition] identifies the psychological repression employed by the Stasi in the DDR that attacked their victims’ self-perception, confidence, and capacity for resistance through deliberate alienation and paranoia. Victims found themselves isolated, doubting their own memories and relationships, as the secret police manipulated their social environment to create chronic uncertainty about what is real, true, authentic; precisely the same instabilities created by AI.

BIO

Michael Betancourt is a distinguished Cuban-American (Latinx) critical theorist, moviemaker, and research artist known for his work in the fields of digital capitalism, motion graphics, and Glitch Art; a pioneer of Glitch Art, he has made visually seductive digital art since 1990 that brings the visionary tradition into the present by glitching still and moving images. 

OMA NONNA

LAYERS

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

OMA NONNA – Brazil

OMA NONNA is an experimental short film created with artificial intelligence that guides the viewer through a landscape of memory linked to the colonization of southern Brazil. Among the memories of European immigrants from the late 19th century and the interwar period, narratives of loss, displacement, and resilience emerge, marked by the reconstruction of life in a foreign land and the occupation of indigenous territories.

BIO

LAYERS é um coletivo formado por Mariana Strasser, Nivaldo Godoy Jr. e Rafaela Tedesco, investigando memória, espaço e tecnologia por meio de animação experimental, IA e práticas audiovisuais imersivas. Seus trabalhos articulam arquitetura, narrativa, percepção espacial e imagem generativa, explorando memória, paisagem urbana e experimentação visual.

MORE TEARS THAN HARM

Herinarivo Rakotomanana

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

More Tears Than Harm – Madagascar/France

A sensory collage of childhood memories from Madagascar with present-day impressions. Fleeting moments quietly echo within.

BIO

Herinarivo Rakotomanana’s practice unfolds between introspective fiction films and music videos rooted in the urban and Afro scenes, mostly with independent artists from Paris and Congo. Since the early days of GANs, the artist has been exploring the latent space of AI-generated imagery, weaving sensorial cinema and visual experimentation, from photorealistic film to animation.

SPECULATIVE SPECIES EVOLUTION

Helena Nikonole

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

Speculative Species Evolution – Germany

Speculative Species Evolution is an art and research project exploring how life might evolve through AI, human intervention, and the Anthropocene. Using generative AI and evolutionary theory, it imagines new life forms — from silicon-based organisms to alien biological trajectories — shaped by climate change, synthetic biology, and post-natural ecosystems. The project exists through AI-generated images, animations, and public workshops where participants co-author future evolutionary narratives.

BIO

Helena Nikonole is a Berlin-based new media artist, curator, researcher, and educator working across AI, hacktivism, hybrid art, and biosemiotics. Moving between post-human futures, activist counter-technologies, and critical approaches to innovation, she is currently pursuing a PhD on LLMs and political ideologies at the University of Applied Arts Vienna.

SOULBREAKER

Gustaf Holtenäs

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

Soulbreaker – Sweden

An alternative version of Britain in the years 1000AD, 2000AD and 3000AD.

BIO

Gustaf Holtenäs was born in 1991, in Helsingborg, Sweden, currently living in Athens, Greece. Painter, animator and game developer, worked on music videos for Black Midi, Iron Maiden. Heavy inspired by JRPG and manga from his childhood. Currently working on a videogame.

THE PSYCHEDELIC PUPPET SHOW

Brad Necyk & Jason Silva

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

The Psychedelic Puppet Show – Canada

The Psychedelic Puppet Show is a surreal satire that confronts the mental health crisis through absurdity and childlike wonder. When Edgar is admitted to a psychedelic puppet hospital, he undergoes bizarre, revelatory treatments that unravel his understanding of sanity itself. As the line between therapy and control dissolves, a playful rebellion emerges—challenging the authority of Western psychiatry and imagining liberation through imagination.

BIO

Jason Silva is a futurist, filmmaker, and Emmy-nominated host of Brain Games on National Geographic. Creator of Shots of Awe, his work explores technology, consciousness, and human potential through cinematic philosophy.

Dr. Brad Necyk is an artist, filmmaker, and writer with a PhD in psychiatry. His work bridges mental health, creativity, and emerging media.

SOULMATE

Axol

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

Soulmate – China

A soulmate-seeking journey through four symbolic spaces traces One’s transformation from incompleteness to self-realization, as they shed layers of desire, identity, and illusion to uncover the raw self within.

BIO

Axol is a multidisciplinary artist working across animation, media arts, filmmaking, and performance. Based in China / Japan, their practice centers on bodies and their relation to constructed systems and space, examining modes of (hetero/appearance/etc.) normativity within contemporary East Asian contexts.

LAZÚLI

Aline Figueiredo, Beatriz Cruz & Milton Felipe

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

Lazúli – Brazil / Canada

In the midst of a dark forest, a woman and a child flee from shadows. When they find themselves cornered, the woman is forced to find a way to save them.

BIO

Aline Figueiredo, 27 years old, graduated in Medicine, and studied Animation at Méliès. She dedicates herself to 3D art, focusing on Texturing and Lighting.

Beatriz Cruz, 22 years old, graduated from Méliès and holds a technical degree in Multimedia from IFPB; is passionate about art and animation.

Milton Felipe, 20 years old, is a debut director with a degree in Animation from Méliès. Passionate about visual arts, he works focusing on art direction.

PAISAGEM MENTAL

Affar Oppip

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

Paisagem Mental – Brazil / Italy

Composed of 12 static works produced during a psychiatric hospitalization (2021-2022), images generated by GAN interpolation, manipulations of “Trenzinho do Caipira” (a traditional Brazilian children’s song), personal recordings, and soundscapes of São Paulo, Paisagem Mental (Mental Landscape) explores the non linearity of human thought, highlighting its flows, speeds, and conflicts in interaction with the structural logic of algorithms.

BIO

Affar Oppip is a visual artist based in São Paulo, active since 2011. His research encompasses glitch art, generative processes, and experiences in the South American metropolis. Through glitches, noises, and overlays, he investigates memory, conflict, and technology, exploring new perspectives, interpretations, and reflections.

ANIMATE CONCRETE

Samim Mehdizadeh & Oliver Tessmann

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

Animate Concrete – Iran / Germany

Roto-moulded concrete elements by the Digital Design Unit become dancing partners.

Architects from the Digital Design Unit (DDU) in Darmstadt and the choreographers from Berlin-based studio tanzpol explore the interrelationship of choreography and architecture with their Animate Concrete project. What happens when you can dance with architectural elements? What if seemingly massive pieces rock and move at the touch of your hand?

BIO

Project team:

Architecture: Digital Design Unit (DDU), Prof. Dr.-Ing Oliver Tessmann, Samim Mehdizadeh M.Sc., Technische Universität Darmstadt. Choreography: Ashkan Afsharian, Johana Kasperowitsch, tanzpol, Samim Mehdizadeh. Dance: Johanna Kasperowitsch, Susanne Grau. Scientific development and project management: Samim Mehdizadeh M.Sc. Robotic fabrication: Danial Ahmad, Mirko Dutschke, Jingwei Fang, Bingqun Liu, Joshua Schäfer, Luke Schüßler, Daniel Schinkels, Malcolm Unger, Leon Witschorke. Design team: Nesrin Asma, Bingqun Liu, Aleyna Yanar, Ye Hong, Luke Schüßler, Daniel Schinkels, Kai Shima, Robin Wehrle, Jasmin Tietianiec, Malcolm Unger, Mashal Maria Hashimi, Jingwei Fang, Yishu Dai, Joshua Schäfer, Mirko Dutschke, Cristina Maria Calin, Sara Elif Yildiz, Tong Lee, Leonie Konz. 

Movie:

Maxim Abrossimov: Animate Concrete – Dance with Me! , Animate Concrete – Making Of . Joshua Schäfer: Animate Concrete – 3D Scan and Motion Tracking

PIZZABOT

Mengyu Huang, Dafni Katrakalidi, Martha Masli, Nguyễn Xuân Mẫn & Wenji Wang

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

PizzaBot – Vietnam

PizzaBot explores architectural automation using identical geometries for building blocks and assembly robots. By utilizing digital materials and discrete assembly, the project redefines construction through part-to-whole relationships. Shaped like a box, this “relative robot” moves along its own structure using one-axis motion to manipulate matching passive elements. Coordination of numerous bots is managed via a BIM application for task planning and collision avoidance, while machine learning aids navigation. Prototypical habitats show how this system creates site-specific assemblies that adapt to terrain and achieve large spans.

BIO

Nguyễn Xuân Mẫn is an architect, computational designer, and founder of XMArchitect. With a Master’s from The Bartlett, UCL, his practice bridges advanced computational research, seen in projects like PizzaBot, with sustainable architecture. Guided by Digital Regionalism, he currently focuses on developing green modular homes in Vietnam using upcycled materials and local heritage. 

Credits: Mengyu Huang, Martha Masli, Wenji Wang, Dafni Kalatradi

PUBLIC PARTS

David Dória, Keshav Ramaswami & Kiko Zhang

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

Public Parts – Brazil / United Kingdom

Public Parts is a platform for communal living. Seeking to challenge the neoliberal model that currently dominates the gig economy through an approach to the re-socialization of housing, the platform employs automation and machine intelligence to produce reconfigurable buildings.

Co-authors: Keshav Ramaswami and Xuan “Kiko” Zhang

Tutors: Mollie Claypool, Gilles Retsin, Manuel Jimenez Garcia, Kevin Saey, Sonia Magdziarz, Alessandro Bava

BIO

David Dória is an architect and urban designer whose work explores the convergence of digital technologies and architecture, with a particular focus on their theoretical and political implications for the discipline. His research spans automation, artificial intelligence applications in architecture, computational design, and digital fabrication. He holds a Bachelor’s degree in Architecture and Urbanism from the Federal University of Sergipe and an MArch in Architectural Design from the Bartlett School of Architecture, UCL.

VERSATILE INT

Zoey Tan, Claudia Tanskanen, Qianyi Li & Xiaolin Yin

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

VersaTile INT – United Kingdom

VersaTile research project questions what it means for architecture to be digital and explores how humans and robots can collaborate in an architectural process.The response is a system based on a plywood building block that can be coded and assembled by robots. It is both digital and physical, capable of automation, optimisation, customisation and human input.

BIO

ARB registered architect and previously an intern of Sir Peter Cook and Yael Reisner, Claudia has been involved with award winning international projects at Hassell, 10 Design and WilkinsonEyre. The VersaTile research project continues to inspire and shape her interests in the field. 

Zoey Hwee Ting Tan is a practicing architect working across residential, tourism, and hospitality projects. She is interested in the relationship between construction methodologies and architectural quality, questioning how beauty, craft, and material expression can be retained within increasingly efficiency-driven modes of production.

LAVAFORMING

Arnhildur Pálmadóttir & Arnar Skarphéðinsson

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

Lavaforming – Iceland

Lavaforming is the technique of harnessing volcanic eruptions to shape new architecture. A single effusive eruption provides enough building material for an entire city. In a matter of weeks, the foundations are laid without harmful mining or reliance on non-renewable energy. In this short-film, we travel a hundred years into the future to visit the city of Eldborg. Through the eyes of its future inhabitants, we learn how the development of this technique, alongside the collapse of the climate, ushered in an era of radical change driven by architectural innovation.

BIO

Sukanya Mukherjee is a designer and filmmaker based out of Los Angeles, CA. With a focus in speculative design, her work lives in the overlaps between film and architecture which she considers innate extensions of one another. Lavaforming is her second short-film, previously exhibited in the Icelandic Pavilion at the 2025 Venice Biennale of Architecture and is currently being shown at the Reykjavik Art Museum.

Arnar Skarphéðinsson is an architect and filmmaker based in Reykjavík, Iceland. His work focuses on architecture’s ability to visualize different futures through filmmaking techniques and video game technology. He is the co-creator of Lavaforming, which was previously exhibited in the Icelandic Pavilion at the 2025 Venice Biennale of Architecture and is currently being shown at the Reykjavik Art Museum.

Arnhildur Pálmadóttir is an architect and founder of s.ap arkitektar. She approaches projects through innovative thinking and interdisciplinary collaboration, with focus on research and circular innovation in the construction industry. Arnhildur also works on experimental projects including the Lavaforming project, Iceland’s contribution to the 2025 Venice Architecture Biennale. Arnhildur and s.ap architects have received numerous awards and international nominations, and their work has been featured widely in both Icelandic and international media.

Director: Sukanya Mukherjee, Arnar Skarphéðinsson. Writer: Andri Snær Magnason. Executive Producer: Arnhildur Pálmadóttir . Animators: Sukanya Mukherjee, Arnar Skarphéðinsson. Sound: Kjartan Thors Hagedorn-Olsen. Music: Jack Armitage. Mixing and Mastering: Josh Wilkinson. Voices: Edda Björg Eyjólfsdóttir, Úlfur Hansson, Andri Snær Magnason, Melkorka Ólafsdóttir, Helga Lára Þorsteinsdóttir. Costume Design: Björg Skarphéðinsdóttir

SPIKE

Yoshi Sodeoka

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

Spike – Japan / United States

A collaboration between Max Cooper and Yoshi Sodeoka, Spike pairs polyrhythmic electronic sound with generative visuals inspired by reaction-diffusion systems. Abstract, organism-like forms emerge, mutate, and self-organize through feedback processes, moving between control and unpredictability. The work explores growth, transformation, and the dynamics of evolving systems.

BIO

Yoshi Sodeoka is a New York-based artist working across video, animation, and sound. His practice explores generative systems, video feedback, and diagrammatic visual languages. Drawing from nature, mathematics, and computation, his work examines evolving structures and perceptual experience through immersive installations and moving image. Music by Max Cooper.

TIDAL TESSELLATION

Seohyo

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

Tidal Tessellation – South Korea

Tidal Tessellation is a generative animation reinterpreting urban flow as fluid movement. The artist projects the energy of city crowds onto the ebb and flow of tides. Using Perlin noise, geometric grids deform according to organic rules, overlaying natural rhythms onto rigid architecture. This work transforms static LED screens into breathing canvases where natural order permeates everyday life, harmonizing the city’s pulse with algorithmic vitality.

BIO

Seohyo  is a generative artist and educator exploring the intersection of algorithmic order and randomness. She expands public art by utilizing urban LED screens as canvases for code-based abstractions. Rather than focusing on static outputs, she emphasizes the generative process to let art naturally permeate everyday life, capturing the living pulses of the city through data and logic.

THE ELECTRIC SHEEP

Scott Draves

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

The Electric Sheep – United States

The Electric Sheep is a collective intelligence and infinite animation that started over 25 years ago. It’s based on a mathematical language invented by Draves and released as open source. Human artists and AI collaborate on designing the “Sheep” with this language. It runs as a screensaver on thousands of computers all over the world, and based on how the audience interacts, the AI learns to please its human audience. The AI, the artists, and the audience work together to create the experience.

BIO

Draves’ work was shown at LACMA, MoMA.org, Prix Ars Electronica, ZKM, and has been collected by the 21c Museum Hotel, Google, the Simons Center for Geometry and Physics, and the Allen Institute for AI. Draves’ Bomb was one of the first interactive software artworks (1994). His Fuse algorithm (1991) is the first image2image model and is known as “where the history of AI-art-as-we-know-it begins”.

ZERO ONE

Raven Kwok

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

Zero One – China

Zero One consists of multiple interconnected generative systems, each with its own characteristics, but collectively inheriting the central concept of an evolving elementary cellular automaton. All visual elements are programmed and generated using Processing. A few minor edits are made during composition

BIO

Raven Kwok (aka Guo, Ruiwen) is a visual artist and creative technologist. His artistic and research interest mainly focus on exploring generative visual aesthetics brought by computer algorithms and software processes.
Mike Gao is a music producer and technologist from Los Angeles. His style is futuristic and innovative, always trying to push the conventions of Hip Hop, the beat scene, and bass music in the pursuit of his next aesthetic, while ironically playing with idioms and conventions.

REINCARNATION

mole^3

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

Reincarnation – Japan

Forms constructed from the same number of vertices gradually transform into multiple configurations, eventually returning to their original state. Each transition reveals a continuous process of transformation, where structure persists through change. Identity emerges here as something unfixed—capable of becoming many forms, yet remaining fundamentally one.

BIO

mole^3 (mole cubed) is a Japanese printmaker and visual artist who creates algorithm-based moving-image works and woodblock prints. Her practice explores the translation of the structural logic and bodily, tactile sensibilities of printmaking into code, as well as the inverse process of materializing code-based generation into physical forms.

CHANGES, CYCLES, AND EMERGENT SHAPES

mole^3

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

Changes, Cycles, and Emergent Shapes – Japan

Generated from the same system, these sequences explore the space between images through cycles of four visual states. Instead of depicting each moment, the work accumulates traces, allowing forms to emerge as trajectories of transformation. The image is not fixed, but formed through overlapping states, where unexpected shapes emerge. What appears before your eyes is not simply present, but an illusion emerging from accumulated transformations.

ATOMIC-COLOR AUTOMATISM

mole^3

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

Atomic-Color Automatism – Japan

This work attempts to relinquish control. The canvas is irregularly divided, and randomly selected colors are layered as thin strata, treated as minimal units of color. Each layer behaves like an independent entity, moving across fragments of the division. The algorithm consists only of simple division and movement, with all variables entrusted to randomness. The resulting image is a process emerging from this seemingly accidental system.

SEA OF CODE

Kazuhiro Tanimoto

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

Sea of code – Japan

Sea of Code is a JavaScript work that generates animation and sound as a flow linking past, present, and future. Simple 8-color forms drift, expand into richer color and organic complexity, and at times reveal gaps within the flow. Inspired by Hiroshi Kawano’s idea of computer art as autonomous beauty, it uses palette-free color generation and Markov-chain melodies derived from classical music. Its title evokes a sea of code through which computer art, often marginal, is still carried forward.

BIO

Kazuhiro Tanimoto is a chemist in materials R&D and a generative audiovisual artist. He builds real-time systems that harness computation, exploring algorithmic transformation through cellular automata and processes of generation, change, and collapse tied to material and social phenomena. His work is included in Rhizome ArtBase, in Art Blocks Curated, and exhibited in New York and beyond.

SEVEN EXPERIMENTS IN PROCEDURAL ANIMATION

Karl Sims

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

Seven Experiments in Procedural Animation – United States

Animated textures and patterns created from custom computer code employing various fractal algorithms, procedural noise, and reaction-diffusion techniques. The moving images are purely defined by mathematics, but are meant to evoke a biological aesthetic by resembling sea creatures, neurons, or other microscopic structures that transform from one emergent pattern to another.

BIO

Digital media artist and visual effects software developer. He founded GenArts Inc., which created special effects software tools for the motion picture industry. Karl studied computer graphics at the MIT Media Lab, and Life Sciences as an undergraduate at MIT. He is the recipient of various awards including two Ars Electronica Golden Nicas, a MacArthur Genius Grant, and an Emmy Award.

PRIMORDIAL DANCE

Karl Sims

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

Primordial Dance – United States

Experimental animation containing a progression of abstract textures and colors. It is a study of emerging and transforming mathematical equations. These effects were created using an interactive process of “artificial evolution.” The equations, or artificial genes, of the survivors are copied, mutated, and mated by the computer to generate new offspring pictures. Finally, movements are created by performing “genetic interpolations” between these evolved images.

REBORN

Kaoru Tanaka

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

Reborn – Japan

Reborn is a generative artwork created from real point cloud data. The piece depicts a playground slide, a symbolic fragment of childhood memory, continuously deconstructing and reconstructing itself in space. Fragments scatter, collapse, and reconnect over time, reflecting the unstable nature of memory and how experiences are constantly reinterpreted and given new meaning. Through transforming accumulated data into shifting structures, the work explores remembrance, perception, and reconstruction.

BIO

Kaoru Tanaka is a Japanese generative artist who creates real-time digital artworks and installations using computational processes. Inspired by nature, memory, dreams, and perception, her works explore transformation through particles, light, and evolving structures. Her works have been exhibited internationally in museums, public spaces, and digital art festivals.

E-VOLVED FORMULA #23

Driessens & Verstappen

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

E-volved Formula #23 – Netherlands

E-volved Formula #23 was “cultivated” using evolutionary software. Mathematical elements are linked together into formulas and displayed. These visualizations are evaluated, and through a process of variation and selection, each new generation adapts better to the viewer’s taste. The collaboration between a breeding machine and a human “gardener” yields results that neither could create on its own. The machine has no sense of aesthetics; for humans, the complex formulas are incomprehensible.

BIO

Driessens & Verstappen have worked together since 1990. In their generative art, they explore the significance of both physical and computer algorithms. The duo has participated in numerous exhibitions; their work is held in collections including Centre Pompidou, MoMA Frankfurt, and Boijmans Van Beuningen. They were awarded by Telefónica (Spain) and Witteveen+Bos (Netherlands).

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.