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.

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.