FILE SÃO PAULO 2017 – bubbling universes

bubbling universes
From July 18th to September 3th


The 18th edition of FILE – Electronic Language International Festival in São Paulo took place from 18 July to 3 September 2017 at the Fiesp Cultural Center. FILE São Paulo 2017: Bubbling Universes occupied many of the spaces, including the Art Gallery, the Digital Art Gallery and the Exhibition Spaces.

The Art Gallery housed various interactive and non-interactive installations, as well as virtual reality works, animations, games and GIFs.

The Digital Art Gallery has been home to the FILE LED Show 2017, a public art display which uses the building’s facade to investigate different forms of artistic expression.

From 18 to 30 July, the Exhibition Spaces presented a variety of programs, including video art, media art and hypersonic art. Also to saw were some of the animation works and games, as well as the installation The Flooor, by Håkan Lidbo & Max Björverud. The Exhibition Spaces were also busy from 18 to 21 July with FILE Workshop, a series of workshops and events which examined the creative use of different technologies.


Bubbling Universes

The emergence of social networks has led to a multiplicity of events on a scale never seen before. The unchecked proliferation of information has now reached an astonishing level and is stored in an unprecedented amount of storage, accessed by thousands of networked data devices. This exponential increase in accessible information overwhelms us all in an incessant and overwhelming flow of concepts, images, opinions and desires. No one is exempt from this cross-contamination, no discipline succeeds in remaining within set boundaries. The proliferation of worlds and tendencies carries us into an indeterminate plurality. All and everything is expanding, like a star in its Red Giant phase, ready to explode at any time. What was immense and infinite has become small when faced with the multiverse. We live in an age of bubbling universes.

Paula Perissinotto e Ricardo Barreto
FILE Founders and Organizers




Adam Basanta – A Truly Magical Moment – Canada

“A Truly Magical Moment” creates a virtual re-enactment of the classic cinematic scene in which two dancers hold hands and spin in the middle of the dance floor while staring deeply in to each other’s eyes.
When guests FaceTime video chat the interactive kinetic sculpture – constructed from iPhones, selfie sticks, and FaceTime accounts – the sculpture begins to spin, reaching dizzying speeds while romantic music plays in the background. At top speed, the background blurs and warps, but the image of your dance-partner remains in focus.
Borrowing from cinema, GIF’s, and Chat Roulette, the work playfully addresses ironic tensions between the shortcoming of virtual connectivity and the global economic connectivity which enables it.

Amy Karle – Internal Collection – United States

Switching up conventions about the body and beauty, the selections from her “Internal Collection” showing at FILE represent internal anatomy in external wearable form. Merging anatomy, fashion, and technology, each piece is created by hand and digital manufacturing technologies. By depicting designs inspired by anatomy, this work communicates that, when we share our likeness and what is going on inside of us, an opportunity is offered for finding beauty within ourselves and connection with others.

Andreas Lutz – Hypergradient – Germany

“Hypergradient” analyzes the different interpretations of an impartial consistent statement. The installation repeatedly changes between two states: the “statement” state and the “interpretation” state.

The statement state displays a sequence of characters of a distinct semiotic system, which can be described as a deputy for all known semiotic systems. These single characters are grouped to strings and then form string orders into an abstract proposition. These abstract propositions don’t follow human dwelled principles, they possess inherent logic and can only be decoded when the observer transfers them into his own mindset. In this state, the space containing the installation and the installation itself is lit up with fixed light sources.

When the installation reaches the interpretation state, the whole space changes into darkness and the surface is illuminated by four light sources, which are arranged around the installation. Vicarious for the various views, understandings and pre-learnings of a universal recipient, the sequence and the brightness of the light sources follow their own principles. Simultaneously, the sequence of the characters remains the same as in the “statement” state, but cannot perceived as pure characters anymore. Through the constant change of light, the physical deformation of the surface and the consequent modification of perception, the original statement now has to be interpreted by the observer.

Gwendaline Bachini – Animo#2 – FLUX – France

“Animo#2 – FLUX” is the second interactive installation of the ANIMO cycle. It is set up as a holographic light cage. It relies on the neo Darwinian theory of Richard Dawkins, who raised the issue of the body as a “survival machine” that is elaborated and blindly programmed in order to preserve identically “selfish gene” from generation to generation. Visitors are invited to manipulate flashlight and by doing so, they discover a holographic life size body which reacts to the light as guided by the observation of animal’s specie. Sometimes the reaction seems to belong to human’s reaction… but what makes typical human being behavior?

Production: La C.R.I and Eclectic Experience
Diffusion: Crossed Lab

Daniel Jolliffe – Perfect View – Canada

“Perfect View” is an interactive sculpture that personifies the human desire to always show one’s best side to others.
Entering the gallery space, the viewer encounters a badly damaged Cloisonné vase, mounted on a white plinth. When the viewer comes within a few meters of the piece, the vase begins to turn silently, adjusting its position so as to always show the viewer a perfect view of its undamaged side.
The result is a visual experience where, in effect, imperfection is edited out.

Credits: produced with the financial assistance of the Canada Council for the Arts. Special thanks to Atelier Clark, Montreal and Kenny Wong Chi-Chuen.

Dorette Sturm – Breathing Cloud – The Netherlands

Breathing is life. Light is life.
“The Breathing Cloud” is a monumental floating organism. The work transforms a space by its motion, light, and rhythmic breathing. With this light art the phrase “let a room come to life” gets a new meaning. The clouds skin looks fragile and soft, and the movements are rhythmic, yet random, so the whole room feels like a living being. The technology is designed so that the strong LED modules and the mechanism support the pervasive breathing. It gets physically bigger and smaller and embraces with its bright light space.

Håkan Lidbo & Max Björverud – The Flooor – Sweden

“The Flooor” is a collaborative music instrument and a social meeting place. 36 sensors under a carpet, connected to a music computer mounted under the floor and loudspeakers mounted in the ceiling.

The patterns printed on the carpet invite people to explore different combinations. 6 groups with different instruments, 6 zones in each group. By standing or dancing on different combinations of the 6 zones, 64 different loops can be triggered. Total 384 loops, all synchronized so that they all sound good in every possible combination. If no-one stands on any zone for more than 2 seconds, the loops in each group are randomly re-arranged. The whole floor can produce combinations.

Music is a part of the very human construction. Music is an expression on gravity on earth and of our bodily proportions. Listening to and creating music together is also a very important social glue. In times where individual and passive consumption of music is taking over, a collaborative, physical music instrument like “The Flooor” can be of importance.

Lawrence Malstaf – Overview – Belgium

“Overview”, 02016.
Astronauts who were able to observe planet Earth from outer space for the first time, all experienced a strong emotional reaction later called the overview effect. A euphoric feeling of oneness with the planet and all living beings as a collective biotope where ‘my molecules are yours’ and vice versa and individuality seems an illusion.
The Overview-installation consists of a motorized video screen that can slowly pan, tilt and lift. The screen is 3m x 4m wide and has LED light on the backside. An abstracted globe is projected on the front.

Marc Lee – 10.000 moving cities – same but different – Switzerland

“10.000 moving cities – same but different” deals with urbanization and globalization in the digital age. The user moves through visual worlds posted publicly by others on social networks such as YouTube, Flickr, Freesound or Twitter. Here these personal impressions are streamed in real time like windows to our changing world. The viewer participates in the social movements of our time and makes a virtual journey into constantly new image and sound collages in which one experiences local, cultural and linguistic differences and similarities. In virtual space, this information is visualized on cubes that rise at different heights to become an abstract urban environment. The work deals with how our cities are continuously changing and increasingly resemble one. This results in more and more non-places/places of lost places in the sense of Marc Augé’s book and essay Non-Places, which could exist all over the world without any true local identity (mostly anonymous transition zones such as motorways, hotel rooms or airports).

Marc Lee in collaboration with the Intelligent Sensor-Actuator-Systems Laboratory (ISAS) and the ZAK | Centre for Cultural and General Studies at the Karlsruhe Institute of Technology (KIT).

Martina Menegon – I Know Myself – Austria

“I Know Myself” is one of the many outcomes of the long artistic process in which the artist obsessively 3D scanned herself in every affordable or possible ways, transforming herself into many different avatars. In “I Know Myself”, the artist’s 3D scanned body is trapped in a limbo between physical and virtual space. She repeatedly hit the walls, in a failed attempt to escape. The force that drags her left and right, up and down increases based on the proximity and movement of the visitors, that cause violence and abuse of the virtual body by approaching or moving in front of the installation.

Mike Pelletier – Performance Capture: Part 2 – The Netherlands

In “Performance Capture: Part 2”, open source motion capture sequences are mapped onto stock low-polygonal unsmoothed 3D characters. Bodies inflate, deflate and oscillate between states, while movements shift and repeat in offset patterns as information transfers from one body to the next. In the animation, what should be used to record, simulate and create perfect virtual realities instead collapses into the uncanny, the abstract and the unreal.

Oculus Story Studio – Dear Angelica – United States

A journey through the magical and dreamlike ways we remember our loved ones. Entirely painted by hand inside of VR, “Dear Angelica” plays out in a series of memories that unfold around you.

One Life Remains: André Berlemont, Kevin Lesur, Brice Roy & Franck Weber – Les disciplines du rectangle – France

“Les disciplines du rectangle” is an interactive art installation made of 7 steles set up in a 200 m² space. Each stele is made of one webcam, one screen and one speaker. When a player stands in front of a stele, his body is detected and a virtual rectangle is drawn around him. The rectangle starts to move and to change of shape. The goal is to stay inside the rectangle without touching its borders. The game stops when there is a contact between the rectangle and the player’s body.

For the audience, nothing is visible except the player’s performance. It is the player’s body who creates the show based on the contrast between what is displayed on the screen and the emptiness of the “real” space. Each stele provides a specific choreography, based on the behavior of its rectangle.

plaplax – KAGE-table – Japan

Since old times, the shadow proved the existence (for a ghost has no shadow). However, like the image projected on the TV monitor (which is “virtual” in this sense) the shadow itself doesn’t have substance. And at the same time, as we can see in the shadow picture, the shadow or silhouette stands as the basis of the image. In “KAGE-table”, we took the notice of this shadow-substance characteristic and by using cone-shaped object I created its shadow with computer graphics.

The computerized shadows projected down toward the table stay still, like all shadows do, but as the time passes, some of them begin to tremble. By touching directly some objects which are placed on the table, various kinds of patterns appear on computerized shadow images. While these things are happening, the viewer is illuminated by the projector coming from the ceiling. So, the shadow of the viewer himself is also projected on the table as well as computerized shadows. When the false shadow created by computer graphics and the true shadow of his own are both projected on the same plane picture, one would recognize his shadow and his existence once again.

Plastic Studios – Bound – Poland

Control an unnamed princess and ballet dancer as she makes her way through surreal, dreamlike environments. The game takes place inside the mind of a woman who is revisiting her childhood memories, confronting her relationship with her mother and her own motherhood.

Teun Vonk – The Physical Mind – The Netherlands

During a residency in Shanghai, Teun Vonk discovered that applying pressure to his stressed body eased his body and mind. In contrast to what one may expect, one does not register sensory input better in a heightened state of sensitivity, such as stress. As such states serve the evolutionary purpose to either fight or flight, they filter out any information that is irrelevant to preparing ourselves for either one of these responses. When experiencing such states, applying deep pressure to the body eases the body and allows the system that filters our perceptual stimuli to recuperate. This physical stimulation relieves the body from stress, after which it starts to perceive all information again.

“The Physical Mind” is Vonk’s attempt to let participants experience the relation between their physical and mental states by applying physical pressure to the body. The installation consists of two inflatable objects in-between which a participant lays down to subsequently get lifted up and be gently squeezed between the curves of the two objects. While the lifting creates an unstable feeling, this stressful sensation is soon thereafter contrasted with the secure feeling of being gently squeezed between two soft objects. Besides this experience for participants, the installation also evokes feelings of empathy amongst bystanders who witness participants undergo the experience.

This project is realized as part of the Summer Sessions network in a co-production of Chronus Art Center and V2_ Lab for the Unstable Media, with support of the Creative Industries Fund NL.

Thom Kubli – Black Hole Horizon – Germany

What kind of relations exists between oscillating air, black holes and soap bubbles? What impact does gravity have on our collective consciousness? Where do spectacle and contemplation meet? “Black Hole Horizon” is a meditation on a spectacular machine that transforms sound into three-dimensional objects and keeps the space in steady transformation.
The nucleus of the installation is the invention of an apparatus resembling a ship horn. With the sounding of each tone, a huge soap bubble emerges from the horn. It grows while the tone sounds, peels off the horn, lingers through the exhibition space and finally bursts at an erratic position within the room. The complete installation comprises three horns that vary in size and form according to their individual pitch and timbre. Visitors can walk through the room witnessing the transformation of sound into ephemeral sculptures, which last only for seconds before their material remains are deposited on the walls and floor.



FILE Anima+ seeks each year to present innovative animations, either for its aesthetic side, for its narrative form or for its technicality. And as a highlight of this wave of imagistic innovation, we bring for the first time to Brazil the artist and filmmaker Faiyaz Jafri.
Born and raised in a rural area in the Netherlands, Jaiyaz, descendant of Pakistanis, explores in his works the Jungian archetypes (ego, persona, shadow, animus/anima and self) in the contemporary world mixed to a line of images with a high seductive power bordering obscenity, which he labels “pop” hyper-realism. In addition, he investigates the so-called neoarchitectures of the mass communication media and globalized “pop” culture.
The artist re-signifies icons of the pop world by appropriating them, making them immaculate by using them in contexts in which their characters (mostly female) have an unnatural, polite, aseptic, cold and soulless perfection. But the strength that this aesthetic carries, floating between innocence and violence, conveys a load of such emotion that makes Faiyaz’s work sometimes frightening, romantic, and strangely human.
The artist re-signifies icons of the pop world by appropriating them, making them immaculate by using them in contexts in which their characters (mostly female) have an unnatural, polite, aseptic, cold and soulless perfection. But the strength that this aesthetic carries, floating between innocence and violence, conveys a load of such emotion that makes Faiyaz’s work sometimes frightening, romantic, and strangely human.
Faiyaz’s work is about duality: sex and violence; eroticism and innocence. For example, duality over innocence and seduction, opposites that, in their animations, are paradoxically very similar and they do not exist in absolute opposition. Nothing is pure innocence or pure evil and the artist’s work just mixes these extremes.
FILE Anima+ 2017 also features hundreds of animated short films among independent, experimental, student and large studio productions. Its partnership with the acclaimed Japanese festival Japan Media Arts Festival features two programs with dozens of award-winning animations at the festival, in addition to the feature film “Miss. Hokusai”. The anime was adapted from a manga published from 1983 to 1987, in three volumes, by Hinako Sugiura. The work portrays the life of Hokusai Katsushika, who is a painter, and his daughter O-Ei, an artist who has always lived in anonymity thanks to the shadow of her father. The story takes place in 1814, in Edo, present-day Tokyo. There, O-Ei, heir to her father’s talent, sometimes paints in his place. Much later, Europe discovers the immense talent of Tetsuzo, and he begins to be known as Katsushika Hokusai, impressing even Renoir, Van Gogh, Monet and Klimt.

Raquel Fukuda

Partners Festivals

– Japan Media Arts Festival


Faiyaz Jafri – The Netherlands

1 This Ain’t Disneyland
2 Hello Bambi
3 Planet Utero
4 Natural Plastic
5 Cyclone forever
6 Disconnector
7 POPone
8 Sway

Liu Chang & Miao Jing – United States

9 Hills Beyond a River


1 Adrián Regnier – L. – Mexico
2 Adrián Regnier – Y – Mexico
3 Adrian Dexter, Birk Von Brockdorff, Arnold Bagasha, Mikkel Vedel, Jody Ghani & Drude Mangaard – Vaesen – Denmark
4 Amber Xu – Luscious – China
5 Amit Trainin – Yareach – Israel
6 Ana Mouyis – Pussy! – United States
7 Anabela Costa – In Motion – Portugal
8 Andrea Cristini – Obsolescence – Canada
9 Andrew Wilson & Michael Trikosko – Invisible – United States
10 Anna Leterq – Corbillard – France
11 Anna Leterq – Metronome – France
12 Anna Vasof – When Times Moves Faster – Austria
13 Anne Beal – Balance and Swing – United States
14 Ash Thorp – None – United States
15 Ava I-Wen Huang – Betsy Blue – Taiwan
16 Ben Ozeri & Corentin Monnier – Grandmas Hero – Denmark
17 Bo Mathorne – Of the Wand & the Moon: We Are Dust – Denmark
18 Bo Mathorne – The Backwater Gospel – Denmark
19 Bo Moore – New Bodies – New Zealand
20 Burcu & Geoffrey – Casse-Croûte – France
21 Burcu & Geoffrey – Nurapaten – France
22 Chen Winner – Innerviews – Israel
23 Christian Larrave – Gap Yr Boiz – United States
24 Christin Bolewski – Shizen?Natural – Germany
25 claRa apaRicio yoldi – Efficient Story – UK
26 claRa apaRicio yoldi – Iconosfera – UK
27 Clemens Wirth – Kinsetsu – Austria
28 Cornelius Joksch – Adultland – Germany
29 Daisy Jacobs – The Bigger Picture – UK
30 Damien Deschamps, Vincent Gallut & Lucie Prigent – 70’s Venice Beach – France
31 Daniel Sousa – Feral – Portugal
32 Daniel Sousa – The Windmill – Portugal
33 Daniella Shuhman – Advice to the Young Artist – Israel
34 Daphné Durocher, Constance Joliff & Fanny Lhotellier – Blue Honey – France
35 Dianne Bellino – The Itching – United States
36 Dina Velikovskaya – My Strange Grandfather – Russia
37 Dropbear (aka Jonathan Chong) – Magnetic – Australia
38 Eran Hilleli – Panda Bear – Israel
39 Eran Hilleli – Inside Out – Israel
40 Ethem Onur Bilgiç – Weeping Willow – Turkey
41 Faiyaz Jafri – Cyclone forever – The Netherlands
42 Faiyaz Jafri – Disconector – The Netherlands
43 Faiyaz Jafri – Hello Bambi – The Netherlands
44 Faiyaz Jafri – Natural Plastic – The Netherlands
45 Faiyaz Jafri – Planet Utero – The Netherlands
46 Faiyaz Jafri – POPone – The Netherlands
47 Faiyaz Jafri – Sway – The Netherlands
48 Faiyaz Jafri – This Ain’t Disneyland – The Netherlands
49 Gerhard Human – Last Train Home – South Africa
50 Gervais Merryweather – Mall 84 – UK
51 Giant Animation – Geist – Ireland
52 Grace Mi – TPJ – United States
53 Guilherme Marcondes – The Unlikely Hero – Brazil
54 Gunner – Mesh – United States
55 Haoge Liu – Fish Tank – China
56 Helmut Breineder – Porter des Choses – Germany
57 Helmut Breineder – Pheromone – Germany
58 Henning M. Lederer – Sisyphus Machines – Germany
59 Hermes Mangialardo – Multiverso – Italy
60 Hyunmin Lee – Diversion – South Korea
61 Hornet Studio, Emmanuelle & Julien – Cadillac Fairview – United States
62 Hugo Ramirez – The Chase in the Ghost Train – France
63 Ibrido Studio – Water Hunters – Italy
64 Ivan Dixon – Adult Swim. Player Hater – Australia
65 Jake Fried – Mind Frame – United States
66 Joost Jordens, Bob Los, Mike von Rotz, Wilbert van Veldhuizen, Bram Meulman & Rosalia Black – HOUT – The Netherlands
67 Jules Boulain-Adenis – Sanctuaire – France
68 Julien Regnard – Somewhere Down the Line – Ireland
69 Juliette Viger – Untamed – France
70 Julius Horsthuis – Fractalicious (serie) – The Netherlands
71 Karni & Saul – Perfect World – UK
72 Karsten Hoof & Frederik Salling Troels-Smith – The Great Harlot and the Beast – Germany
73 Kazuhiro Goshima – Phenakistoscope 2016 – Japan
74 Kilogramme Studio – A Monkey Who Likes Jam on Toast and Karate – UK
75 Lærke Kromann – Roommate Wanted Dead or Alive – Denmark
76 Little Oil – Circus – China
77 Liu Sha – It Is My Fault – China
78 Loïc Magar & Roman Veiga – Voyager – France
79 Lori Malépart-Traversy – Le Clitoris – Canada
80 Lori Malépart-Traversy – Nocturia – Canada
81 Lori Malépart-Traversy – Extra Champignons– Canada
82 Lucas Durkheim – Grounded – France
83 LUNOHOD – Issa – Latvia
84 LUNOHOD – Wings and Oars – Latvia
85 Mads Weidner – Parrot Away – Denmark
86 ManvsMachine Studio – Versus – UK
87 Marcin Gizycki – STO[NE]S – Poland
88 Markus Magnusson – KickFlip Grampa – Sweden
89 Markus Magnusson – Floppy Disk – Sweden
90 Martina Scarpelli – Cosmoetico – Italy
91 Masahiko Sato & EUPHRATES – Ballet Rotoscope – Japan
92 Mathieu Rouland – Merge’s The Exit – France
93 Matthias Hoegg – The Power of Privacy – UK
94 Mehdi Aouichaoui, Claire Dejoie, François Heysen, Pauline Lebris & Quentin Pointillart – Rose Bleue – France
95 Michael Marczewski – Bad Vibes – UK
96 Michael Marczewski – Vicious Cycle – UK
97 Mike Winkelmann – Zero-Day – United States
98 Monica Manalo – For the Lost – United States
99 Moritz Reichartz – Space Diaspora – Germany
100 Nicola Gastaldi – GastaLoops – Italy
101 Nicolas Fong – Those Visions Have No End – Belgium
102 Nicolas Ménard – Wednesday dwith Goddar – France
103 Owl House Studios – Routine – UK
104 Pasquale D’Amico – My Child is Dreaming – Italy
105 Pedro Ivo Carvalho – Vagabond – Brazil
106 Pierre-Jean Le Moël & Eva Jiahui Gao – OURO: How my eyes became Red – France
107 Ramiro AMK Fernandez – Cubic Circles – Argentina
108 Raquel Piantino – Duplo – Brazil
109 Robert Wallace – Michael Nau. Love Survive – UK
110 Rune Spaans – Red Rainbow – Norway
111 Sandrine Deumier – ExterPark – France
112 Sandrine Deumier – Soft Butterfly – France
113 Shawn Wang – Planet Unknown – China
114 Shirin Abedinirad – Babel Tower – Iran
115 Silvia de Gennaro – Travel Notebooks: Beijing, China – Italy
116 Simon Scheiber – The Lighthouse – Austria
117 Simone Giampaolo – No More Stuff – UK
118 Sofie Kampmark – Tsunami – Denmark
119 Sophie Koko Gate – Half Wet – UK
120 Studio Smack – Paradise – The Netherlands
121 Susanne Wiegner – Contemplation is Watching – Germany
122 Susanne Wiegner – Future in the Past – Germany
123 Susanne Wiegner – Kaspar Hauser Lied – Germany
124 The Line Animation – Ciclope – UK
125 Uwe Heine Debrodt – Renacer – Mexico
126 Vasil Shotarov, Zeno Pelgrims & Klaudia Smigielska – Naughty Princess – UK
127 Vincenzo Lodigiani – Split – United States
128 Vinicius Oppido – Propaganda – Brazil
129 Wizz Studio & Flying V – The Mermaid – France
130 Yali Herbet & Lee Drot – Mirrors – Israel
131 Yugo Limbo – Push it 4000 – United States
132 Zachary Zezima – It’s a Date – United States
133 Zombie Studio – Dream – Brazil


FILE GAMES 2017: Voluntary Discontrol

The curatorial concept behind FILE Games 2017 considers the experiences which motivate players, reflecting on their interaction with the games and exploring their aesthetic impact, seeking to discover meaning in the tension between voluntarily handing over control and the primitive urge for response.
Digital games have the potential to not only express representations as a collection of images, text, and sounds, but as a dynamic behavioral system which evolves and transforms organically.
These transformations, which are both caused and experienced by the player as they communicate mechanically, on account of the digital nature of the communication – with a virtual system, in fact, establish a second and deeper layer of dialog between the expressions of the author, who is the conductor who unifies and directs systems and rules that emerge as latent experiences for the player; and the user interacting with their avatar in the system which becomes both a reflection of the expression of the player and part of the channel which maintains a dialog with the immaterial voice of the implicit author of the game.
The feeling of control given to the player, which is sometimes sophisticatedly false, is carefully maintained by the voluntary suspension of disbelief which sustains this fantasy world, where this ephemeral and mutating dialog is rebuilt and slips away at every decision the player makes as part of their game-playing. This pulse between domination and uncertainly is, perhaps, the artistic culmination of a gaming system as an aesthetic element.
This interaction is fueled by the intentional imbalance between the satisfaction derived from power of choice and the conflict caused by abstaining from control. This inconstancy facilitates the dialog that is at the heart of the gaming experience. The communication goes beyond the immediate representation of the impulses emanating from the interface, as introspective meanings are unfolded with the discovery of meanings which are assumed to be uniquely belonging to the author. The player becomes empowered not by controlling the exchange, but by their ability to perceive the creative intentions of the author. The expressive intent behind the game now belongs to the player.
This inversion of responsibilities is an epiphany in “Inside”, which discusses the relationship involved in control, drawing parallels with the young protagonist chased by a sinister dystopian state. This same boy exercises telepathic control over other human beings; and, perhaps, acts as a meta-player, challenging the assumption of user interaction.
In “Old man’s Journey”, the player moves mountains to help the protagonist on his journey of reconciliation, while revealing the loving and painful narrative of his past. The journey through the landscapes is a meditative process shared between the protagonist and the player, and exposes the weakness of both, by opposing the power to remake the world to the inevitable passage through life.
“Everything” is a contemplative game which explores the sense of “being” in a multiplicity of forms and scales. The player takes control of creatures, objects, quantum particles, heavenly bodies or of the cosmos, in a casually philosophical exercise of reflection and curiosity. Participation in the game demands the recognition of a certain interconnectivity between all the beings that make up the universe while, at the same time, dissolving the notion of the individual as the player “jumps” between entities.

Daniel Moori
FILE GAMES 2017 Curator


1 Alec Holowka, Scott Benson & Bethany Hockenberry – Night in the Woods – United States
2 Broken Rules Studio – Old Man’s Journey – Austria
3 Carlsen Games – THOTH – Denmark
4 David O’Reilly – Everything – United States
5 Dinosaur Polo Club – Mini Metro – New Zealand
6 Geert Nellen – Metrico+ – The Netherlands
7 Marc Flury & Brian Gibson – Thumper – United States and South Korea
8 Piotr Iwanicki – SUPERHOT – Canada
9 Plastic Studios – Bound – Poland
10 Playdead – Inside – Denmark
11 Oculus Story Studio – Dear Angelica – United States
12 Quicksand GamesLab – Antariksha Sanchar: Transmissions in Space – India
13 Agustin Abreu, Pablo Bounous & Ignacio Platas – Kid Nano – Uruguai

FILE GIF 2017: Multiplicity

The 18th São Paulo Electronic Language International Festival is pleased to present FILE GIF 2017, a selection of 85 works by artists from more than 10 countries. For the first time, the exhibition includes the FILE GIF AWARD, a symbolic award which has been introduced to recognize the quality of the works in GIF format which appear spontaneously in the vast arena which is the internet.
In first place is “Gastaloops”, by the UK-based artist Nicola Gastaldi. It is a personal project in which the artist produces 100 GIFs over 100 days, using three colors in 50 gif frames. His award-winning GIF shows multiple perspectives of humanoid figures walking around, busy with their daily routines. The ambience recalls the dream-like engravings of Escher and alludes to the tasks which fill our days and occupy our attention. In second place is “Flora”, by the German artist Philipp Artus. It is one of a series of animations generated by an algorithm which recreates the effect of sine waves found in nature. The resulting images combine the aesthetics of an algorithm with elements of natural flora. Third place goes to “????????”, by the Slovakian artist Adam Pizumy. It forms part of a series of GIFs which the artist has produced from portraits he has appropriated from the internet, which he manipulates in diverse ways to disassociate the images of the faces from their original meaning.
Honorable mentions go to “Non-ending layers”, by the Mexican artist Daniel Barreto, who experiments with the rotoscoping technique to illustrate the idea of removing negativity from the body. “Anxiety”, by the Croatian artist Paolo ?eri?, is a roughly sketched black circle which, through its form and repetition, alludes to the infinite. And, finally, “Someone’s Living Room No.2”, from the German artist Thoka Maer. Her animation includes unexpected elements, which she places in a room to surprise and awaken the curiosity of the viewer, encouraging them to consider possible narratives that explain their presence in the scene.
These prize-winning works, with the other GIFs on show, refer to the diversity of themes and artistic languages which artists working with the GIF format explore. They address issues of contemporary life, such as our daily tasks, the imbrication between the organic and the artificial, the manipulation of information, of the body, of time and space, through techniques which lend themselves to repetition. FILE GIF 2017 seeks to highlight the multiplicity underlying a presupposition that on the surface appears to be limited, but which unfolds into complexity and variety.

Fernanda Almeida
FILE GIF 2017 Curator


1st Place
Nicola Gastaldi – Gastaloops – England

100 animated gifs in 100 days, “Gastaloops” is a personal project built up on some strict rules: 3 colours, looping, 50 frames.
Like a visual diary, Gasta played with patterns, optical illusions, objects of my daily life, fears, and obsessions typical of London.

2nd Place
Philipp Artus – Flora – Germany

The animation in “Flora” is generated by overlapping sine waves that travel through a string of lines. This wave principle often appears in nature when energy is transmitted through a medium like water, air or simply a rope. The resulting aesthetics combine computational accuracy with an organic playfulness, and tend to trigger diverse associations in the mind of the viewer.

3rd Place
Adam Pizurny – ???????? – Czech Republic

Adam Pizurny (1986, Slovakia) is an artist who mainly works with media art. His works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. Adam Pizurny currently lives and works in Prague.

Honorable Mentions

Daniel Barreto – Non-ending layers – Mexico

The gif was an experimentation with rotoscope animation. First I made a video of myself moving my arms as desired. Then I separated all frames on Photoshop, printed them on a small scale and drew on top of them with different media. The gif was intended to somehow represent myself or anyone who can identify with it taking out all the noise or negativity from the body/mind and just throw it away from the self.

Paolo ?eri? – Anxiety – Croatia

In my work I explore the connection between art and science, fields I’ve always been drawn to. I enjoy finding beauty in mathematical formalities which I then use as a source of inspiration and the base of my work. The looping nature of my animations is something of great importance to me since I want to create a feeling of endless motion.

Thoka Maer – Someone’s Living Room No.2 – Germany/The United States

Thoka Maer was born and now draws. She’s best with pencils but can handle way more than that. She earned degree from the University of the Arts in Berlin in 2014 and made her family feel kind of ok with this whole ‘art thing’. After Berlin and Hong Kong her German body and spirit have set roots in Brooklyn, NY.


Carla Gannis is a New York based new media artist. She is fascinated by digital semiotics and the situation of identity in the blurring contexts of physical and virtual. Gannis’s work has appeared in numerous national and international exhibitions, and has been featured in press and publications including ARTnews, The Creators Project, Wired, FastCo, Hyperallergic, The New York Times and The LA Times, amongst others.

Clayton Shonkwiler is a mathematician and artist. He received his Ph.D. from the University of Pennsylvania and is an Assistant Professor of Mathematics at Colorado State University. He is an expert on random knots, and started creating animations as part of his research. His art is still often inspired by his research or teaching, but it has also taken on a bit of a life of its own.


1 A. L. Crego & Borondo – Psyche – Spain
2 Adam Pizurny – After Birth, Auto Portrait, Cloth Head, Dissociation, emilycloth01, estsanatlehiv, estsanatlehiv2, Permutation 2, Voxel Sorting & ???????? – Czech Republic
3 Anne Beal – Excerpt from ‘Wishing Well’ 2015 1, Excerpt from ‘The Goddess Project’ 2015 2 & Excerpt from ‘Wishing Well’ 2015 – United States
4 Bill Domonkos – Ornithologist – United States
5 Bill Domonkos – Fig. 370 – United States
6 Carl Burton – sem título – United States
7 Daiana Ruiz – sem título – Argentina
8 Daniel Barreto – Non-ending layers – Mexico
9 Eric Lefaure – 034, 046 & 048 – France
10 Faith Holland – Visual Orgasms – United States
11 Gennadiy Chernega – We are targets – Ukraine
12 James Zanoni – test_0294, test_0390, test_0514, test_0524, test_0734, test_0739, test_0890 & test_287 – United States
13 Nicola Gastaldi – Gastaloops – England
14 Paolo ?eri? – Anxiety, Medusa & Zeta – Croatia
15 Philipp Artus – Flora – Germany
16 Sabato Visconti – Apocalypse Beach – Brazil/United States
17 Sandra Crisp – Interface-Twitterstorm3 – UK
18 Thoka Maer – Someone’s Living Room No.1 & Someone’s Living Room No.2 – Germany/United States
19 Tom Morris – Dusk Driving – UK





1 Cedric Yon – Untitled – 1 & 2 – United States
2 Debashis Sinha – 4 Poems for Body and Breath – Canada
3 Demian Rudel Rey – Che-toi – Argentina
4 DRN: Eduardo Nespoli & Adriano Claro Monteiro – DRN – Brazil
5 G3: Filipe Matos – Text me Something Interesting about Yourself – Portugal
6 John F. Barber – 11’22” – United States
7 Juan Carlos Vasquez – Collage 12 “Beethoven Collage” – Finland
8 Laura Tack – MRI – Belgium & Iceland
9 Laura Tack – Un chant d’amour – Belgium & Iceland
10 Luis Valdivia – Xaev1uox – Argentina
11 Marco Ferrazza – CitiZen – Italy
12 Ouazzani Sarah – Chat-huant (Tawny Owl) – France
13 Pairs of three: Eduardo Abrantes – Os Três Inimigos da Alma – Denmark
14 Pairs of three: Eduardo Abrantes – Sister Brother Agatha Darkness – Denmark
15 Ricardo de Armas – El sueño de la razón produce monstruos – Argentina
16 Ricardo de Armas – Alucinógeno Dalí – Argentina
17 Rocío Cano Valiño – Tâches – Argentina


1 ‡Starvingpoet§ – Black Hand Rose Garden – United States
2 Alejandro Casales – MOD – Mexico
3 Alfonso Pretelt – Euridice – The Netherlands
4 Brandon Blommaert – e:e:e:e:e – Canada
5 Chi Pohao – Lightscape-Chromatic Nocturne – Taiwan
6 Darren McClure – Perennial – Japan
7 Dénes Ruzsa – S.C.A.N. – Searching Alternative Nature – Hungary
8 Mike Celona – DecoSpan – United States
9 Mike Celona – Legendary Variations – United States
10 Ouazzani Sarah – Berceuse – France
11 Salar Niknafs – Adrift – Australia
12 Yiannis Kranidiotis – Ichographs MdelP – Greece

Music Video

1 Agnieszka Zimolag DRTHRDWR – Phantom Surface – The Netherlands
2 Alfredo Ardia – Rami – Italy
3 Glyph & Ravana – Old Delhi – India
4 Grant Petrey – Filament – UK
5 Grant Petrey – Mesmer – UK
6 Hibanana Studio: Miao Jing & Chang Liu – Transition – United States
7 Lustre – SPaRks – United States
8 Nelton Pellenz – Noite Azul – Brazil
9 Scant Intone & C130 – Eye of the Storm – Canada
10 Tommy Becker – Song for Awe & Dread – United States
11 Tommy Becker – Song for Our Aquarium – United States
12 Vj Iluminous (Manolo Fraga) – O Voo do Navegador – Brazil


FILE LED Show 2017: Possible Dialogs

The FILE LED Show 2017: Possible Dialogs presents 18 works at SESI-SP’s Digital Art Gallery grouped into three distinct exhibitions which explore different artistic expressions – Algorithm Cinema, the Faces Project, and a collaboration between FILE and the University of New York`s campus in Abu Dhabi. The works shown on the facade of the building, which has been transformed into a giant LED screen, emphasize the dialog that exists between the poetic and the material upon which the image is displayed, where the physical support for an image is an essential conceptual component – even so when the image is ephemeral.
Algorithm Cinema includes “Daemon” by the Austrian artist Hansi Raber and the German Andreas Lutz, “Saccade”, from the Turkish collective Ouchhh Studio and “Algo_light” by the Spaniard Servando Barreiro. Similar to the work of the vanguard filmmakers of abstract cinema, these artists have combined different forms that impact on the viewer by creating a tension between light and dark, and between geometric and organic figures. “Daemon” refers to the structural cinematic experiments of Peter Kubelka or Tony Conrad. In the video, as in “Arnulf Rainer” (1960) and “The Flicker” (1966), intermittent lights cause passers-by on Paulista Avenue to examine the way that these visual stimuli interact with their bodies. The circular elements of “Algo_light” echo films that used a similar format, such as “Samadhi” (1967), by Jordan Belson. But Belson’s intent to create a profound meditative state in the viewer is not possible on the street. In the context of the city, where we are subject to any number of visual, sonoric and olfactory stimuli, the very act of perception of the art surrounding us is the result of our positioning ourselves regarding the city. It is a way of facing it that is an escape from the alienation of the day to day, which is sensitive to the nuances of what is happening around us. “Saccade” emerges as a combination of “Daemon” and “Algo_light”, in the way it fuses flashing lights with different geometric and organic forms. These artists’ refer to important historical works of experimental cinema, using recent techniques for the generation of digital images. Algorithm Cinema results, in this way, in a new means of expression that dialogs directly with the arts which came before it.
The Faces Project follows a similar logic, combining elements from the history of art with contemporary techniques for generating images. It is a public, large-scale display of adaptations of ten portraits originally conceived by the Slovakian artist Adam Pizurny as GIFs. Pizurny appropriates 3D scans found on the internet, modifying them digitally to create animations that deconstruct the original faces. Some faces transform into flying, textile masks, while others dissolve into bubbles or watery waves. Others are merged with external elements, fragmented or overlaid, in a way that recalls the cubist paintings of Picasso or Braque. The portrait, such a fundamental artistic form, moves from the internet browser to the facade of the building, in a dialog with the many and different faces that pass by on the streets of the city every day.
As well as the passers-by, Paulista Avenue also hosts five projects by young artists from Turkey, Sri Lanka, Peru, Dubai, the United States, Pakistan and the United Arab Emirates. The works, which were made specially for this exhibition in a partnership with the University of New York Abu Dhabi, include “Droplet”, by Alia Alharmi, “Evolving Roots”, by Ekin Basaran, “Dance of Change”, by Harshini J. Karunaratne, “Window”, by Nahil Ali Memon, and “Crossroads”, by Felix Hardmood Beck and Zlatan Filipovic. The artists explore themes such as time, the dynamic between nature and technology, the image in movement, corporal expression, and architecture. The projection of the images on the façade adds a powerful element to the poetics of the works and serves as a metaphor for everyday actions, including the conflict between different ways of living and our need to learn to tolerate difference.
The three exhibitions that form FILE LED Show 2017: Possible Dialogs show that adapting to a particular environment, such as the use of a technology as an artistic language, a distinctive support for the image or the day-to-day experience of both public and private places, always requires an effort to reconcile the old and the new; for neither replaces the other but must learn to dialog between them. The public space of the building’s facade is able to house different voices with which a conversation with the passers-by becomes possible through art.

Fernanda Almeida
FILE LED Show 2017 Curator


I – Cinema algoritmo

1 Hansi Raber & Andreas Lutz – Daemon – Austria/Germany
2 Ouchhh Studio – Saccade – Turkey
3 Servando Barreiro – Algo_light – Spain

II – Faces Project

1 Adam Pizurny – Czech Republic

II – New York University Abu Dhabi (NYUAD)

1 Alia Alharmi – Droplet – Dubai
2 Ekin Basaran – Evolving Roots – Turkey
3 Felix Hardmood Beck & Zlatan Filipovic – Crossroads – United Arab Emirates
4 Harshini J. Karunaratne – Mudança de Dança – Sri Lanka/Peru
5 Nahil Ali Memon – Window – United States/Pakistan




1 AND-OR: René Bauer, Beat Suter & Mirjam Weder – DadaOverload – Switzerland
2 Anna Eyler – How to Explain Love to a Tape Measure – Canada
3 austraLYSIS – novelling – United States
4 Boris du Boullay – Un film écrit / This is a written film – France
5 Bruno Ministro – Nigerian Prince! – Portugal
6 João Marcos Maciel – Mr. Market’s Emotions – Brazil
7 Jürgen Trautwein (aka jtwine) – OVER_TOP – United States
8 Liu Chang – Nature and Algorithm – China & United States
9 María Papi – Hit the Road, Jack – Argentina
10 Michael Takeo Magruder – (endless) Wall – UK
11 Pedro Veneroso – Gogoame – Brazil
12 Peter Whittenberger – 100 Years is not Enough – United States
13 Rojo – Convergence – I – Colombia
14 Thiago Cóser – Real – Brazil
15 Wreading Digits – Pontos: uma recombinação textual intermedial e transpoética – Portugal




1 Aaron Bradbury – LoVR – England
2 Jan Rothuizen, Sara Kols & Zesbaans – Drawing Room – Germany
3 Mike von Rotz & Joost Jordens – Transition – The Netherlands
4 Quba Michalski – Ex/Static – United States
5 Quba Michalski – The Pull – United States
6 Sehsucht Berlin – Moderat “Reminder” – Germany
7 Silvia Ruzanka & Ben Chang – Traversing the Sectors – United States
8 ZDF Enterprises – Gladiators in the Roman Colosseum – Germany



Nuances in Time in FILE Video Art 2017

In the 18th edition of FILE – the Electronic Language International Festival – in São Paulo, FILE Video Art 2017 presents a selection of 23 works by artists from 15 countries. Included are six award-winning works from the first edition of the FILE Video Art Award. First place went to “Performance Capture: Part 2”, by the Dutch artist Mike Pelletier; second place to “The Stream VI”, by the Japanese Hiroya Sakurai, third place to “Landscape for a Person, by the Argentinian Florencia Levy. The three Honorable Mentions went to works by women artists: “Forsaken Forest”, by Anna Beata Baranska from Poland, “Garden Conversations”, from the Colombian Diana Salcedo, and “Estado Liquido” (Liquid State) by the Brazilian Fernanda Ramos.
The works chosen for this edition of FILE Video Art demonstrate that when it comes to art, technique is less important than the poetic in its accomplishment. The videos presented in this exhibition include established techniques, such as live action motion capture, stop motion animation and edited found images, and newer technologies, such as software for motion capture in 3D animation. In all cases, independent of the technique used in producing the images, the works invite the viewer to perceive nuances in time. These nuances may emerge from reflection on the historic moment through which we are living or observations of the passage of other possible times, when we are engulfed in the frenetic routines of everyday life.
In “Performance Capture: Part 2”, for example, Mike Pelletier creates images of humanoid beings whose bodies inflate and deflate as they move, creating a dreamlike setting, which is reinforced by a sound track. The artist comments: “what should be used to record, simulate and create perfect virtual realities, succumbs, on the contrary, to the exceptional, the abstract, and the unreal”. Hiroya Sakurai also creates extraordinary images in “The Stream VI”. But, unlike Pelletier, who uses new technologies, Sakurai’s video shows the flow of water in the ancient man-made rice paddies which changed the landscape, creating a poetic environment where the passage of time is shown through the current of the water. In turn, in “Landscape for a Person”, Florencia Levy suspends time, presenting images from all over the world – collected using Google Street View – which are matched with audio tracks of people in conflict of transit or being deported. The contrast between the words spoken at a normal speed and the slow-motion images creates a certain strangeness and highlights the violence involved in these situations of transit, although no images of violence are shown.
The other videos in the exhibition show various situations which dialog with these propositions. In “Forsaken Forest,” by Anna Beata Baranska, the small details that show the passage of time in a simulated forest can be discerned. In “Garden Conversations”, by Diana Salcedo, nature, humanity and the machine dance together until they become a single being. “Estado Liquido”, by Fernanda Ramos, is a different case, in which she presents an experimental audio-visual work on rubbish, referring to the polemic collapse of a dam retaining mine tailings owned by the Samarco mining company in 2015, in Mariana, Minas Gerais. In the work, the rubbish represents fractures, or perturbations, in the flow of the passage of time and the natural landscape.
These works reinforces the idea that, as technique is less important than the poetic in art, decisions on what use to which the tools which we have are put are essential in choosing between making real dystopian scenarios or fighting the trend to ensure that they do not become reality. In this sense, making it possible to perceive nuances in time becomes essential in the discussion about the future we want. As when the “empty spaces” in cinema provide a moment of contemplation away from the action, the works in this exhibition open up cracks in the relentless flow of time experienced in the day-to-day and call attention to issues of the moment in which we live and of other imaginary and potential times.

Fernanda Almeida
FILE Video Art Curator




1st Place

Mike Pelletier – Performance Capture: Part 2 – The Netherlands

In “Performance Capture: Part 2”, open source motion capture sequences are mapped onto stock low-polygonal unsmoothed 3D characters. Bodies inflate, deflate and oscillate between states, while movements shift and repeat in offset patterns as information transfers from one body to the next. In the animation, what should be used to record, simulate and create perfect virtual realities instead collapses into the uncanny, the abstract and the unreal.

2nd Place

Hiroya Sakurai – The Stream VI – Japan

In the man-made waterways of rice paddies, the water in nature must follow artificial rules. In that way, nature is made abstract, giving rise to a new form of beauty distinct from the natural state. This work is a ballet using the sound and the movement of the algae and the water in this environment.

3rd Place

Florencia Levy – Landscape for a person – Argentina

“Landscape for a person” traces a path through different locations into a sequence of images. The visual material was filmed on Google Street View and then edited with audio interviews of people who were in conflict of transit or deportation.

Honorable Mentions

Anna Beata Baranska – Forsaken Forest – Poland

Darkness, swaying trees, buzzing insects. Nature changes slowly, led by its natural rhythm. We can see what nature offers to us: trees, clouds, insects, birds, sun, moon, grass, some pollen, dust, but also something more. The rationality creeps a little irrationality to discreetly make landscape a little more unreal.

Diana Salcedo – Garden Conversations – Colombia

Memories come back to life in different forms, from objects to the body and the place they inhabited. One should noticed them and start a conversation with them. Directed and edited by Diana Salcedo; Choreography by Martha Hincapié Charry; Music by Ana María Romano; Programming by Miri Park; Costume Design by Natalia Esguerra Villegas.

Fernanda Ramos – Estado Líquido – Brazil

“Estado Líquido” (Liquid State) is an experimental documentary about trash mismanagement, the leaking of liquefied waste and its consequences. Created through animation with photographs, it was filmed in December 2015 in the district of Mariana, MG, Brazil.


Anna Vasof is an architect and media-artist. With her ingenious and wondrous inventions, she creates funny, poetic and critical objects, actions, installations and videos. Since 2004 her videos and short movies have been presented and won prizes in several festivals internationally. She’s currently working on a Ph.D. thesis about Non-Stop Stop-Motion, an animation method that she is developing.

Bego M. Santiago is a Galician visual artist based in Berlin. She considers her art production as interdisciplinary, and specializes in the use of light as a pictorial and sculptural tool. She aims to explore the feedback between reality and representation, and likes to play with binomials such as: real/fake, presence/absence and original/copy. Light is for her the perfect tool for the generation of simulation and optical illusions, enabling her to give life to inanimate objects, blurring the boundaries between reality and representation, presence and absence.

1 Albert Bayona – Darrere la Benzinera – Spain
2 Anna Beata Baranska – Forsaken Forest – Poland
3 Anne Beal – Positioning – United States
4 APOTROPIA: Antonella Mignone & Cristiano Panepuccia – Echoes of a Forgotten Embrace – Italy
5 Brit Bunkley – Ghost Shelters – New Zealand
6 Diana Salcedo – Garden Conversations – Colombia
7 Fabiano Rodrigues – Ratsrepus – Brazil
8 Fernanda Ramos – Estado Líquido – Brazil
9 Florencia Levy – Landscape for a person – Argentina
10 Francesca Leoni & Davide Mastrangelo – Simulacro – Italy
11 Hiroya Sakurai – The Stream VI – Japan
12 Kai Welf Hoyme – Skeleton – Germany
13 Karoline Georges – Profile Update – Canada
14 Karoline Georges – REPÈRES (Landmarks) – Canada
15 Lynn Bianchi – Grasshoppers – United States
16 Mike Pelletier – Performance Capture: Part 2 – The Netherlands
17 Przemek W?grzyn – Practice – Poland
18 Rodrigo Faustini – Dissimulados – Brazil
19 Rogelio Meléndez – Pausa – Mexico
20 Sandra Crisp – Remote City (skygardens_towers) – UK
21 Sigrun Höllrigl & George Chkheidze – A Man and a Woman – Austria
22 Susanna Flock – Fetish Finger – Austria




Aieda Freitas – Audiovisual Performance – Brazil

Amy Karle – Internal Collection – United States

Bernardo Loureiro & Leila Santiago – Smart Cities, Watched Cities: An Experimental Mapping Workshop – Brazil

Carmem Castanon – Play Your Way – Brazil

Célia Fernandes – Wearables and Fashiontech – Brazil (IED)

CrossLab: Clarissa Ribeiro, Andressa Hadig Haidar, Maria Clara Reial, Stavros Didakis & Mick Lorusso – Stardust: Pixels as raw data for sonification – Brazil, United States and China

Estúdio Preto e Branco & Daniel Grizante – Animation for Volumetric Projection in Spaces – Brazil

Fabio Yamaji – Craft Rotoscopy Animation – Brazil

Fabricio Lima – Experiments with Traditional Animation – Brazil

Faiyaz Jafri – Neo-Archetypes: The Appropriation and Transcendence of Pop References in Cyberspace – The Netherlands

Gabriel Camelo, Thais Weiller, Danilo Dias & Arthur Zeferino – Make your game! – Brazil

Gabriel Menotti – Small monuments: Digitization of artifacts and affective memory – Brazil

Henrique Stabile – Parametric Design with Arduino and Grasshopper – Brazil (IED)

Mauricio Jabur – Program your Pinball and Build Your Control Device: Introduction to Interactivity with Electronics and Programming – Brazil

Sandro Miccoli – Introduction to Live (Visual) Coding with Cyril – Brazil