FILE 2026

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

Applications are open until February 19, 2026 .

With 26 years of experience , FILE is a non-profit cultural organization dedicated to promoting creation, research, and experimentation in Art and Technology , bringing together artists, scientists, programmers, and thinkers around exhibitions, events, and publications. The selected projects will be part of the FILE 2026 program, scheduled to take place at the FIESP Cultural Center in São Paulo, between August 18 and October 11, 2026,  with the possibility of parallel activities in other Brazilian states.

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

Access the registration form.

FILE 2026

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

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

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

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

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

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

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

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

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

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

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

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

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

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

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

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

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

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

FILE 2026 | GENERAL REGULATIONS

FILE 2026

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

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

FILE 2026 | GENERAL REGULATIONS

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

Event, Stream, Object

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

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

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

ايمانويل مورو
toki

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

impossible objects

TMRRW

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

Ingress uses the mobile device GPS to locate and interact with “portals” that are in proximity to the player’s real-world location. The portals are physical points of interest where “human creativity and ingenuity is expressed,” often manifesting as public art such as statues and monuments, unique architecture, outdoor murals, historic buildings, local community hubs and other displays of human achievement. The game uses the portals as elements of a science fiction backstory along with a continuous open narrative provided through various forms of media.

Мари Шуинар
BODY REMIX GOLDBERG VARIATIONS
Durante los primeros pasos de esta creación, los bailarines y yo trabajamos sobre las Goldberg Variations de Bach, tal y como las interpretó Glenn Gould en 1981, así como la voz del pianista, con sus cadencias orales durante una entrevista de radio dedicada a esta particular interpretación.
Emprendí el trabajo con una mezcla de los cuerpos de los bailarines, a través del uso de varios elementos de apoyo: muletas, picos, arneses, etc. Una barra de ballet fue trasformada en un material musical. Pedí también al compositor Louis Dufort que usara un “apoyo”, concretamente una interpretación de Gould y su voz, y a proponer variaciones sobre las Variations. Diez de las treinta variaciones, así como las dos Arias, fueron remezcladas o incluso recompuestas (1, 2, 4, 11, 15, 16, 21, 23, 25 and 29). Otras tres variaciones (5, 6 y 8) se ofrecerán en su versión original.

una lumino
チェ·ウラム

Inspired by the grandeur of the physical realm, from celestial bodies to earthly organisms, U-ram Choe’s complex kinetic sculptures combine delicate, otherworldly beauty with machines, motors, and steel. Choe’s shiny biomorphic forms flutter, glow, and breathe inside their metallic bodies, appearing both familiar and entirely alien.

A Two Dogs Company
FRIEZE

FRIEZE consists of two projections of enlarged figures, standing up straight. They are cramped inside a small, tall box that slowly revolves on a central horizontal axis. They wait. They try to keep straight, but their bodies insist on contorting in the confined space. Nevertheless they persevere in maintaining their dignity. Keeping up appearances. Their bodies sink and turn, pressing against the constricting walls, until the man and the woman are completely upside down. They then slowly pull themselves upright again, they straighten their clothes and look ahead as if nothing happened.

In FRIEZE Kris Verdonck continues to work on the theme of earlier projections, e.g. STILLS, DUMP and D’OR. The figures are typical ‘Verdonck-personages’: business types, neatly dressed, civilised and modern, but all stuck in a system, in an untenable situation. But they don’t ask questions. They maintain their faith. Persistance is the message.

The personages in FRIEZE could be considered to be a modern version of the caryatids: the humanly figures that often replaced pillars in classical architecture. They were functional as well as ornamental and emanated power. The caryatids in FRIEZE, on the other hand, display their vulnerability in the extreme.

Clavilux
Clavilux 2000 is a subtle music visualization installation that represents the playing of sounds by way of a simultaneous animation that can be interpreted. For every note played on the keyboard, a stripe appears of which the dimensions, position and color correspond to the way the particular key was stroke.

A Two Dogs Company
END

In the performance END artist Kris Verdonck shows the possible final stages of a human society in ten scenes. Melting glaciers, burning forests, cities under water, ubiquitous screens and cameras spying on us, the uncontrolled availability of weapons of mass destruction, and so on. END starts out from the images the media project onto our retinas all day and every day. The ten scenes are linked by a monologue spoken by a single character: the witness who sees it all happen. While this survivor – like the messenger in Greek tragedy – talks unceasingly, a series of ‘Figures’ appears on stage: machines and people or a combination of the two. They go from one side of the stage to the other, all in the same direction. Are they fleeing something? If so, what?

I / II / III / IIII

In I/II/III/IIII, choreographer and visual artist Kris Verdonck transforms the stage into a life-size dollhouse. Four female ICK-dancers – not unlike marionettes – are floating in mid-air, suspended from a huge machine. A solo, a duet, a trio and a quartet follow one another in this choreography of identical movements. A game of surrendering to the machine and at the same time, searching for control. The images evoked by I/II/III/IIII are confusing and ambiguous: the dancers almost look like graceful, fragile swans … but they also remind us of animal carcasses being dragged along, floating angels, falling human bodies and everything in between.

Fire With Fire

sensescapes

Eine rundum 360 ° Wandprojektion ermöglicht ein eindringliches Erlebnis und erstaunliche sensorische Illusionen. In Sensescapes spiegeln sich die Präsenz und Bewegungen der Besucher in der Änderung der Raumzusammensetzung wider. Historische Kunstbewegungen, die in der Ausstellung mit Sensescapes gezeigt werden, werden spielerisch aufgegriffen und interpretiert.

חטיבת שמחה
ジョイ·ディヴィジョン
Closer
Joy Division, released in 1980, was considered one of the most important albums of the post-punk movement. As the songs were recorded under a specially constructed stucco vault, an end to capture and resonance from a chapel. There is no indication of the sides, either on the seal or in the insert. Thus, with the previous album, Unknown Pleasures, the relationship of the songs is found only without insert. In the CD edition, consider side A that starts with the Atrocity Exhibition, and side B starts with Heart And Soul.

Диего Стокко
custom built orchestra

I always been fascinated by the raw musical power that an orchestra can express, so, after creating a series of videos where I’m performing a multi-track piece with an instrument I designed, I decided to take the concept a step farther and create my own orchestra made of unusually unique instruments. The project started by handcrafting a diverse selection of instruments, then I wrote a composition where I could fit them all in and finally performed each part.

f5x5x5
f5x5x5 is a kinetic light sculpture conceived of and realized by the belgian design studio lab[au]. the project was most recently installed in the basilique de saint denis in paris for nuit blanche 2009. the design consists of fixed and kinetic aluminum frames that can move randomly or be programmed for use as a low resolution display. the piece is designed as a framework, taking inspiration from software development
frameworks. in the case of the project, the framework is a five by five module which is repeated five times to create the final form. one side of the work is white, while the other is black. the 125 pixel screen works on binary language and can transform captured data from the physical environment into kinetic actions.

night lights

In this installation YesYesNo teamed up with The Church, Inside Out Productions and Electric Canvas to turn the Auckland Ferry Building into an interactive playground. Our job was to create an installation that would go beyond merely projection on buildings and allow viewers to become performers, by taking their body movements and amplifying them 5 stories tall.

We used 3 different types of interaction – body interaction on the two stages, hand interaction above a light table, and phone interaction with the tracking of waving phones. There were 6 scenes, cycled every hour for the public.

Representa Corisco

O Projeto Representa Corisco está em desenvolvimento desde 2003 e neste período foram realizadas várias intervenções urbanas e vídeo instalações em cidades como Belo Horizonte, São Paulo e Barcelona. Com o objetivo de propor reflexões críticas sobre as relações políticas e sociais nas grandes metrópoles, o projeto trabalha com conceitos da cultura popular e ícones visuais relacionados com o universo do cangaço e um dos seus personagens: Corisco.

O cangaço foi um movimento armado que durou mais de dois séculos (XIX e XX) no nordeste brasileiro e pode ser associado a conceitos como de resistência e crítica a privilégios hereditários presentes na história brasileira. Evocar Corisco e o cangaço é um intento de desenvolver uma ação política dentro do contexto contemporâneo, uma maneira de reinterpretar um passado recente, um universo de poesia e sobrevivência em um cenário desfavorável como o da Caatinga.

Мари Шуинар
Golden Mean

– de profundis – soft virtuosity – state of grace – multiple intelligences conversing – the golden mean – time regained.

The beings performing on stage will appear to have come from a strange yet friendly future; in an absolutely scintillating acuteness of sensory perception, in which the underlying processes are laid bare, they allow us to listen to our senses in a serene and unprecedented way.

The Being is a field of exploration, a crucible of possibilities; here it is on the verge of a thought-provoking and amourous mutation

Interactive MultiTouch Sphere
A brand new collaboration between seeper and PufferFish, watch this space for the worlds first interactive spherical display system.

Parmenides I

The work continues to build on a visual language rooted in ideal geometries, and a prismatic interplay of light and pattern. The cascading faceted surface carries an implied motion, rolling away from the spectator with meditative ease. This energy potential is given breath by luminescent washes which crash, ebb and flow with internal symmetry.

While best understood directly and perceptually, Dev’s work presents an infinitely reproducible formal structure and lucid logic that can be known universally without empirical knowledge. Light and projection become representative of perceptual knowledge by directly invoking temporal optical phenomenon, but a pure idealized form remains intact. It is this interplay that reproduces the sublime conflict in the viewer, who must choose to ride this crest uncertainly and find exhilaration in the balance.

Arabesque
فيمكه مثل كثيرين من جيلي ، نشأت وأنا أرضع على أنبوب أشعة الكاثود وأستحم في موجات الراديو. كل هذا تم تصويره في عملي ، في صورة مجمعة للحركة والضوء والصوت.
حاليًا ، من خلال عملي ، أستكشف طرقًا لإلغاء الحدود بين التصوير السينمائي والنحت. تضمنت تحقيقاتي الأخيرة حول هذا الموضوع استخدام أجهزة الكمبيوتر جنبًا إلى جنب مع العناصر الميكانيكية لإنشاء تركيبات تشبه الماندالا. هذه التركيبات هي وسيطتي وأنا أستخدمها لإنشاء رسوم متحركة سريعة الزوال. هذا الكوريغرافيا السريعة للحركة هي النقطة المحورية في عملي.
أعتقد أن هذا الانبهار بالصور المتحركة وتحولات الأشياء ينبع من شبابي حيث أعطتني أجهزة الكمبيوتر المنزلية في الثمانينيات لمحة عن عالم الرياضيات التطبيقية الرائع. على أجهزة الكمبيوتر هذه ، كان من الممكن باستخدام أكواد بسيطة إنشاء أنماط وأصوات تجريدية رائعة ، وقد دمرت تلك المواجهة إلى الأبد الحدود في ذهني بين التجريدي والحقيقي.
يلعب الرقص أيضًا دورًا مهمًا في عملي ؛ لقد انجذبت إليها من خلال الموسيقى الإلكترونية. عرّفتني Electro بصوتها المركب على الرقص البريكي وتم التقاط روحي بجمال الحركة الجسدية المصممة للرقص.
. هو أحد أكبر المصممين من Fashionclash. كان الكثير من الجمهور يضحكون بسبب الإبداعات المضحكة وغير العادية للغاية. مجموعتها هي طريقة فنية ، مع الكثير من مواد القصب. غالبًا ما تم تغطية الرأس والصدر بمواد كبيرة مثل قصب السكر أو الخشب أو الأقمشة. رأينا الألوان البني والبرتقالي والأبيض ، مع بعض القلائد الخشبية التي تشبه السلالم.

Illuminated Fog
Device for viewing the complex motions and patterns in fog.

A mesmerizing and gently turbulent movement of fog is revealed in stark visual contrast to a plain black background. The structure and motion of the fog make visible the complex interactions of ambient air currents and viewer movement.

Metropolis

Metropolis is a 1927 German expressionist science-fiction film directed by Fritz Lang. Set in the year 2026, Metropolis takes place in a dystopian society where wealthy industrialists rule from vast tower complexes, oppressing the workers who live in the depths below them.

The drawing is placed on the largest window of the ‘Concertgebouw’ (Concert building) in Bruges with the perfect backdrop of the city. There are many different perspectives to the work wich has the effect of a changing picture throughout the day.

fragments of RGB

This project experiments with illusion and perception on various levels. The classic LED screen as a medium was simulated and disintegrated by the creation of a pixel-like optic using simple projection rather than the entire image’s being comprised of individual points of light. If one examines the idea of perception more closely, especially individual perception – which differs from individual to individual – then a second consideration arises in regard to “fragments of RGB”.

梁基爵
When The Cloud Is Low

記得在飛機上低著頭看雲，當時它成為了一片海。

當飛機穿越它，像是擦身而過的頃刻，它是煙霧。

隔著飛機的窗，我在想像雲的聲音。

畢竟雲是空氣中的水點，因此我借助了霧機和影像，假造了一片可以讓大家低頭觀賞的雲。 聲音與音樂同樣從水而來，想像與影像同步而起，在這裡你可以側耳傾聽雲的聲音，悠如一首雲的協奏曲。

تريشا براون
트리샤 브라운
トリシャブラウン
Триши Браун
floor of the forest
Trisha Browns Boden des Waldes – teils Skulptur, teils Tanzstütze, teils Performance – wird im Rahmen von Dance / Draw präsentiert und verfügt über einen 12 x 14 Fuß großen Stahlrohrrahmen, über den Seile gebunden und mit gebrauchter Kleidung dicht eingefädelt werden. Innerhalb der Struktur winden und weben sich zwei Tänzer, die sich buchstäblich durch die Skulptur ziehen und ausziehen. Jede Aufführung unterliegt dem Zufall, so dass die Individualität jedes Tänzers, der sie aufführt, ihre Bewegungen bestimmen kann, was bedeutet, dass keine zwei Aufführungen jemals gleich sind.

Metamembrana

A projeção representa uma paisagem em que num único panorama somam-se quatro projeções na horizontal em uma proporção de 16/3. Inspirado nos retábulos dos mestres flamengos Hyeronimus Bosch e Pieter Bruegel, a paisagem reproduz colinas, cidades, céus, mares e uma grande quantidade de situações protagonizadas por diferentes personagens. Não se trata de uma situação estática como daquelas pinturas, mas sim de uma colagem animada e variável vinculando o comportamento interativo das interfaces. A projeção dispõe de diferentes estados ou camadas, até sete, que resultam em uma grande diversidade interativa. As interfaces ou dispositivos sensíveis são ativados pelos espectadores que se convertem em usuários da instalação tanto no âmbito local como no resto das cidades. A interação também se produz por outros parâmetros, como o clima ou certos comportamentos sociais. Metamembrana tem uma clara vontade de estabelecer elementos de identificação com o espectador para fazê-lo participar da obra. Estão previstas três estratégias para consegui-lo: a primeira, previamente, mediante a produção de conteúdos in situ, em cada uma das cidades, com entidades e elementos próprios do lugar. A segunda, durante a exposição inserindo imagens dinâmicas como, por exemplo, câmeras conectadas a vários pontos da cidade ou capturas das faces de alguns espectadores. E a terceira, de maneira pontual, produzindo elementos ao vivo em cada uma das cidades que se retransmitem pela rede durante o período de exibição da peça.

Skinstrument
File Festival

Skinstrument is a musical instrument which can be played by two players. By means of a tiny imperceptible current the players become part of a circuit. When the players touch each other on the skin this circuit starts to generate sound. The intensity of the touch determines the frequency of the sound.

Drama House
File Festival

“Drama house” is a house when the simple ring at the doorbell can have unpredictable consequences; event, one is stranger then another and in the same time all, what happens with habitants belongs to everyday life. Sometimes these circumstances are a little bit exaggerated. Spectator stands in front of low fence with a door-gate. There are 8 doorbells on it. The act of ringing provokes an action in an apartment window. Based on chance and the choices that viewers make, the project explores the contemporary trends in the construction of a narrative and the interplay between diverse informative sub-layers effected through the impact of digital, non-linear media. It also questions the very process of story telling and at the same time considers the way of audience reading. It investigates the differences of individual and collective perception. In other words, the sequence and choices that each viewer selects reflect his own perspectives and behavioral patterns, thus makes the viewer much more than an active participant. By interacting with the installation the viewer is engaged in the creative process: re-telling the ever-changing story through the utilization of the primary capability of the digitization: reshaping the information. Therefore, each participant walks away with a unique, slightly different vision, each shaped according to his own choices and directions. Interactive media and the digital environment of the DH and its narrative function through a recognizable metaphor that makes access to the information meaningful: a house as a conceptual society model and an apartment as a private space. This reference transforms the objects and stories in the project into the metaphors and reminds us of the art cultural function: as a site of memory of the social collective imagination and as a site of representation and power.

METABUP
FILE FESTIVAL – MACHINIMA

“Meta Bup” de Nicolas Boone & Johann Van Aerden constitue un épisode de la série “Bup” qui explore le  “système totalitaire” de la publicité. Cet épisode aux allures de jeu vidéo, a été réalisé dans l’espace “Bup” , construit dans “Second Life”, avec une foule d’avatars convoqués par les artistes pour participer au tournage. Envahi par des messages publicitaires et de propagande pour “Bup” , l’univers de “Second Life” se transforme en un espace où non seulement les avatars mais également ceux qui les commandent sont manipulés par le projet Bup. Le projet “Meta Bup” développe sur un mode ludique et festif une mise en abyme des mécanismes publicitaires.

Full Body Games
file festival

Full Body Games is an interactive installation that allows users to engage in an unencumbered, full body gaming experience. The Full Body Games system projects the user’s silhouette in front of them in relation to simple graphic game objects with which they can interact. The user can select from four different games: Color Shooter, Two Touch, Duck and Jump, and Sorter. All games were designed to be quick, simple, intuitive and encourage dramatic movement.

timelapse/(Mnemosyne)

With his newest creation David Dawson marked his return to the Dutch National Ballet. Here, Dawson reflects upon the legends from Greek Mythology and the ideas of Memory. Each passing scene weaves a magical journey back in time, exploring the ideas that lay within these stories and questions their continued value and meaning to our modern day psyche. With an original new score specially commissioned from Scanner, set design and projection by artist Eno Henze, and also with long term collaborators, light designer Bert Dalhuysen and costume designer Yumiko Takeshima.

حرق رجل
燃烧的人
バーニングマン
горящий человек
starlight

“BURNING MAN starlight” refere-se à instalação de arte “Starlight”, criada por Erich Remash, Jeremy Berglund, Don Peterson e Chad Ingle para o Burning Man 2012. A instalação consiste em sete grandes estrelas de compensado que formam a constelação de Órion, projetadas para serem vistas tanto de perto quanto de longe, durante o dia e à noite, e para dar uma sensação de escala em contraste com a vastidão do Deserto de Black Rock.

Скотт Блэйк
スコット·ブレイク
marilyn monroe
Florida-based artist Scott Blake has created various portraits of celebrities and pop culture icons using only the barcodes of items specific to the person to make up their individual portraits.

Feist

“Feist” é uma aclamada plataforma de jogo desenvolvida por Florian Faller e Adrian Stutz, que oferece um mundo de jogo dinâmico e emergente no estilo de uma novela gráfica ao vivo, pintada em tintas opacas. Completamente conduzida pela física e habitada por criaturas caprichosas, “Feist” dá uma forte ênfase à exploração, um rumo de ação imprevisível e narrativa que deriva de pequenas ações e reações criadas enquanto se joga. O jogador deve guiar uma criatura peluda frágil mas misteriosa por uma floresta com muitas criaturas desconhecidas e frequentemente hostis, que vivem em suas partes mais sombrias. “Feist” é mais um brinquedo de narrativa que um jogo.

GRAFFITI ANALYSIS
SCULPTURES

Graffiti Analysis is an extensive ongoing study into the motion of graffiti. Custom software designed for graffiti writers creates visualizations of the often unseen motion involved in the creation of a tag. Motion data is recorded, analyzed and archived in a free and open database, 000000book.com, where writers can share analytical representations of their hand styles. Influential graffiti artist such as SEEN, TWIST, AMAZE, KETONE, JONONE, and KATSU have had their tags motion captured using the Graffiti Analysis software. All tags created in Graffiti Analysis are saved as Graffiti Markup Language (GML) files, a new digital standard used by other popular graffiti applications such as Laser Tag and EyeWriter. Graffiti Analysis 3.0 is an open source project that is available online for free in OSX, Windows and Linux. Graffiti writers are invited to capture and share their own tags, and computer programmers are invited to create new applications and visualizations of the resulting data. What Martha Cooper did for archiving graffiti on film, and Chalfant/Silver did for archiving graffiti in video, Graffiti Analysis intends to do for archiving graffiti in code. The project aims to build the worlds largest archive of graffiti motion, and bring together two seemingly disparate communities that share an interest hacking systems, whether found in code or in the city.

Pendulum Sound Machine

created as an instrument, this device subverts a record player’s rotation to make noise with 16 plate-hitting pendulums.