FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology
Deadline: 07/09/2025
Contact
Electronic Language International Festival
São Paulo
https://file.org.br/
Details
Synthetika
Unlike Hegel, who called the set of ideas of a given era the "spirit of the times" (Zeitgeist), we could call our era "Zeitsynthetik" (the time of the synthetic). In the classical period, art was inseparable from religion, whose essence was spirituality; in modernity, spirituality was replaced by the ideologies of grand narratives (capitalism and socialism). The classical arts invented poetics and aesthetics: the beautiful and the sublime. Modern art invented the avant-garde, which proposed itself as revolutionary; its driving force was the dialectic of the new without the old, while postmodernists, on the other hand, mixed everything with everything, including the old with the new. Today we live in the age of synthetic technologies, the age of disruptive technologies. In which the new of modernity is no longer sufficient or surprising. Syntheticity is the new vector: synthetic algorithms; synthetic virtual realities; synthetic intelligences. The driving force behind synthetic art is now: 1) the fusion of new artistic expression and technological innovation, and 2) the inter-creativity between the artist and artificial creativity. Prompt engineers strategically simulate personas for AIs to move beyond triviality and thus achieve more creative results. Synthetic intelligences are no longer just instruments, but partners with artists in building a creative and innovative symbiosis.
Art and culture go through a moment in which creativity ceases to be only human, it becomes artificial; syntheticity thus prospects a post-culture, a new FORM: the form SYNTHETIKA.
Ricardo Barreto
Curator and co-founder of FILE
International Electronic Language Festival
SYNTHETIKA: Creative symbiosis
As Ricardo Barreto proposed, if Hegel defined the "spirit of the times" as Zeitgeist, today we live under the sign of Zeitsynthetik—the time of the synthetic. Our era is no longer governed solely by ideologies or spiritualities, but by disruptive technologies that dissolve boundaries between the human and the artificial, the organic and the digital. Art, far from being mere representation or critique, has become a field of creative symbiosis, in which algorithms, artificial intelligence, and biological bodies coexist and co-evolve.
The FILE 2025 exhibition celebrates SYNTHETIKA, an emerging aesthetic that transcends the dichotomies of modernity and postmodern pastiche. Here, creativity is no longer exclusively human: it is a dance between artists and generative systems, between ancestral gestures and neural networks. The selected works reveal the intercreativity developed alongside technological evolution. Within the visual and sound ambience created by AIs in Transformirror (by Daito Manabe and Kyle McDonald), the synthesized past is reinterpreted through the experimentation of a new physicality in which all visual elements are transmutable and generated with each gesture.
AI is not just a tool, but a partner, challenging notions of authorship, originality, and sensitivity. The music videos "The Noise of Art," "Freeda Beast," and "Liberation," developed through generative adversarial networks (by Mario Klingemann), evoke the cutting-edge appropriation of deep learning and its introduction into the artist's creation. " I am I " (by Gioula Papadopoulou and Olga Papadopoulou) presents digital avatars that question existential sentience, and "Aquarela de Íons " (by Arthur Boeira and Gustavo Milward) translates solar data into sensory landscapes.
In the FILE 2025 SYNTHETIKA exhibition , the sublime is no longer found in nature or machines, but in the in-between space where they merge. Fractalicius (by Julius Horsthuis) transforms mathematical equations into cinematic universes; Deep Paula (by Erika Kassnel-Henneberg) resurrects memories through algorithms, exposing the fragility of perception; the uncomfortable surveillance of new digital bodies in //:Are you observing or being observed? (by Vitória Cribb) warns us about our digital presence and the new limits of materiality; Newton's Cradle (by Jeff Synthesized) recodes time as a commodity in a dystopian future. Even the fungi of Mycelium (by the collective Ultravioletto) and the posthuman creatures of Meka Talks (by Koral Alvarenga) propose non-human intelligences as models for social and ecological reorganization.
In the face of new ecological paradigms, Spiral of Time (by Edwin van der Heide), Visual Bird Sounds (by Andy Thomas), and OUVIR (by Craca) use documentary records of natural life to simultaneously bring it closer to our sensory perception and deconstruct it to propose new spaces for creative navigation within familiar ecosystems. On the other hand, the critical and prospective perspective of The Hunter and Dog (by Frederik De Wilde) challenges this post-natural and biotechnologically engineered world in which DNA editing (CRISPR) can control biological and technological evolution.
This is a manifesto for a post-anthropocentric art, where syntheticity—the radical hybridization of bodies, data, and environments—redefines the very act of creation. The guessing game between the artist and AI in Scott Allen's Unreal Pareidolia demonstrates that programming can be a guide that enables an "expanded imagination" for the exploration of creative gaps. If modernity worshipped the new and postmodernity mocked the canon, SYNTHETIKA dissolves both in a continuous flow of algorithmic recombinations. The artist is now an engineer of prompts, a choreographer of systems, a shaman of networks.
Within the fictional boundaries exposed in Boundaries (by Memo Akten and Katie Peyton Hofstadter), we see humanity recognizing itself through the collectivity achieved through data visualization, experiencing a journey of self-perception and macro- and micro-logical interconnection. ReCollection (by Weidi Zhang and Rodger Luo) demonstrates that AI connects languages to reveal that we share the experience of what is human and are moved by similar, collective memories.
The selection of works in this exhibition—from the fractal worlds of Julius Horsthuis to the algorithmic dystopias of Jeff Synthesized—echoes the principle of Zeitsynthetik : an era where technology doesn't serve art, but merges with it, generating landscapes of unknown beauty. Here, each piece is a node in a larger network, an experiment in how to create when intelligence is collective, distributed, and, above all, artificially wild.
Welcome to the era where art does not imitate life, but synthesizes it.
Paula Perissinotto
Co-Curator and Co-Founder
FILE – International Electronic Language Festival
Clarissa Vidotto
Co-curator of
FILE – International Electronic Language Festival
Synthetika
PROGRAM
Dancing through Latent Space
Mario Klingemann loves to dance—not professionally—but whenever he does, he tries to translate his interpretation of the movement and gestures of the music into the multidimensional space of his body. Working with the latent spaces of neural networks, particularly GANs, he discovered a parallel process: translating sound into images. Dance makes music visible through movement; his art attempts to do the same with artificial intelligence, allowing music to shape images. The three video works presented— Freeda Beast—Bringing Things to an End (GAN generated beta) (2017), The Noise of Art (2020), and Liberation (2020)—are experiments in this translation, each created in one go by code written by him, which responds to the rhythm and mood of the songs. Bringing Things to an End , likely one of the first fully AI-generated music videos in the world, uses a face-generation model trained by the artist.
Transformerror
Daito Manabe & Kyle McDonald – Japan / United States
When everything is imagined by AI—from music and images to prompts and titles—what's it like to look in the mirror? This seminal study of real-time image generation, made possible in 2023 with Stable Diffusion XL-Turbo and Stable Audio, explores the future of media and interactivity. Can we better understand these systems by interacting with them physically, in real time?
Boundaries
Memo Akten & Katie Peyton Hofstadter – United States
Boundaries is a monumental work that explores the illusion of separation—between self and other, body and environment, matter and mind—and reflects on the interconnectedness of all things, from microorganisms to atoms forged in extinct stars. Created with custom code, AI, computer vision, digital painting, and dance, the work unites technology and bodily expression in an intimate and contemplative experience.
Hunter and Dog
Frederik De Wilde – Belgium
Frederik De Wilde's "Hunter and Dog" reinterprets John Gibson's 1838 neoclassical sculpture with digitalization, genetic algorithms, and evolutionary algorithms, reflecting on post-evolutionary paradigms driven by CRISPR. The work intersects human evolution and genetic engineering, revealing how biotechnological control, linked to colonial bioprospectivism, can perpetuate inequalities. It questions who controls life in a future shaped by biotechnology, challenging techno-utopianism and speculating about a post-natural world.
Watercolor of Ions
Arthur Boeira & Gustavo Milward – Brazil
Every 11 years, the Sun undergoes cycles of magnetic activity that affect space weather and technologies on Earth. " Ion Watercolor" reflects on this solar force and its impacts on distant bodies, converting solar ion data into an immersive experience of sound, light, and image. Using retroactive data, the work narrates solar activity over the past few decades in a sensorial way, bringing space and humankind closer together.
Listen to
Craca – Brazil
An interactive sound installation that simulates the learning of a community and the creation of a lexicon through memetic exchanges between virtual creatures and the public. The creatures emit melodies and occupy a physical network that spreads throughout the architectural space, learning to communicate throughout the exhibition. The work utilizes a rudimentary AI system developed from scratch.
ReCollection
Weidi Zhang & Rodger Luo – China / United States
The interactive installation ReCollection uses artificial intelligence to construct synthetic collective visual memories from natural language. The work blurs the lines between memory and imagination, combining experimental visualizations with AI systems, and invites the audience to reflect on how memory narratives are formed amid emerging technologies.
Unreal Pareidolia
Scott Allen – Japan
There's a tendency called pareidolia, in which the human brain identifies familiar patterns in objects. In this work, images and captions are generated in real time from the shadows of toys and everyday items, stimulating individual imagination. The piece acts as an entity that provokes mental associations, rather than focusing on human production.
Loki
Jia-Rey Chang – Taiwan
Loki is an interactive AI inspired by the mischievous Norse god. Unlike obedient AIs, Loki responds playfully and unpredictably, reflecting users' attitudes—arrogance meets cunning, modesty receives encouragement. It provokes critical thinking about AI reliability, bias, and neutrality. By interacting with Loki, users explore whether AI can truly be trusted. Dare to question!
Visual Bird Sounds
Andy Thomas – Australia
Visual Bird Sounds transforms bird songs and sounds into computer-generated 3D visualizations. The recordings are converted into animated figures that resemble living digital organisms—like virtual representations of the birds themselves. The work invites the audience to reflect on the beauty of nature and the urgency of preserving its habitats.
COMPLETE PROGRAM
1. Andy Thomas – Visual Bird Sounds – Australia
2. Arthur Boeira and Gustavo Milward – Aquarela de Íons – Brazil
3. Craca – OUVIR – Brazil
4. Daito Manabe and Kyle McDonald – Transformirror – Japan / United States
5. Darren Slater (DSM) – Emerge – United Kingdom
6. Darren Slater (DSM) – Lakes of Skylands – United Kingdom
7. Darren Slater (DSM) – Pods – United Kingdom
8. Darren Slater (DSM) – Portal Trip – United Kingdom
9. Edwin van der Heide – Spiral of Time – Netherlands
10. Frederik De Wilde – Hunter and Dog – Belgium
11. Hassan Ragab – The City – The Wicked Emergence – Egypt / United States
12. Hiatu – Ennui – Poland
13. Hiatu – Mood Swings – Poland
14. Jia-Rey Chang – LOKI – Taiwan
15. Louis-Philippe Rondeau – Veillance – Canada
16. Mario Klingemann – Freeda Beast – Germany
17. Mario Klingemann – Liberation – Germany
18. Mario Klingemann – The Noise of Art – Germany
19. Memo Akten & Katie Peyton Hofstadter – Boundaries – United States
20. Scott Allen – Unreal Pareidolia – Japan
21. Subsomnia – Deep Sixxx – Austria
22. Subsomnia – Stellar Civilizations – Austria
23. Subsomnia – Vivaldi – Austria
24. Subsomnia – Windswept – Austria
25. Tanja Vujinovic – SynthPets – Slovenia
26. Thomas Marcusson – The MicroCinescope – Australia
27. Tim Murray-Browne – SELF ABSORBED – Scotland
28. Tin&Ed – Deep Field – United States
29. Weidi Zhang & Rodger Luo – ReCollection – China / United States
CINE SYN
1. ChrisLee – Robot Journey: Part 1, 2 & 3 – China
2. Gabe Michael – Unknown – United States
3. Seongmin Kim – Green Light – South Korea
4. Jeff Synthesized – Newton's Cradle – United States
5. Valezart – AI Museum – Spain
VIDEOS AI
1. An-Ting and Ian Gallagher – Black-collared Starling 烏領椋鳥 (Hong Kong) – Taiwan / United Kingdom
2. Callahan Indovina – 86 & 53 – United States
3. CNDSD & Iván Abreu – Pre(N)atura | Fonocene – Mexico
4. Cornelis Clement – AI Created a Sci-Fi World You Won't Believe! – Germany
5. DMTPortal – Recursive Empyrean – Canada
6. Erika Kassnel-Henneberg – Deep Paula – Germany
7. Gabriel KÖI and Sabato Visconti – Motherboard – Brazil
8. Gioula Papadopoulou and Olga Papadopoulou – I am I – Greece
9. Jenifer Haider Chowdhury – Verticity – Bangladesh
10. PintoCreation – Epic Alien Landscapes – Italy
11. Ø STUDIO – Ørigin – United States and Taiwan
VIDEO ART
1. #FFFF00 – Impression: São Paulo – Taiwan
2. Barbara Oettinger – What future will we build upon the worst of the present? – Chile
3. Brit Bunkley – Natural Intelligence – New Zealand
4. Caspar de Gelmini – Die Kunst ist der nächste Nachbar der Wildnis – Germany
5. Fran Orallo – Sorrow – Spain
6. Hsujing – XENO: UNDERTOW – China and England
7. Jon Chambers – Approximations of a Body Part – United States
8. Juan Manuel Escalante – Music for Control Panels – Mexico
9. Kenji Kojima – Begins with Chaos – Lascaux – United States
10. Koral Alvarenga – Meka Talks – Beyond Flesh, Steel – Brazil
11. Minimaforms & DRL Elemental Research Group – Elemental – United Kingdom
13. Silvia De Gennaro – Gaia: Uni(co)verso (Gaia:Uni(que)verse) – Italy
14. Yuting Chen – A Camera and an Engine – China
15. Yukang Tao – ArtiPerception – United States
CGI AND AICG VIDEO
1. Andrés Ferrari – Estudio Geométrico 03 – Chile
2. CNDSD & Iván Abreu – AUTOCONSTRUCCION – Mexico
3. CRUDE_CASTIN – Progetto Leonardo Da Vinci: Neo-Renaissance – China
4. Jiatong Yao – ChromaPause – China
5. Julius Horsthuis – Fractalicius – Netherlands
5. Marc Samper – A Dreamscape Cartography – Spain
6. Michael Betancourt – Garden – United States
7. Pan – Towards a New Nature – China
8. Rocio Delaloye – Simulacra – Argentina
9. S4RA – bot3quim – Portugal
10. Vitoria Cribb – //:Are you observing or being observed? – Brazil
11. Yvette Granata – Exo Gestus #2 – United States
LED SHOW
1. Anabela Costa – IN BETWEEN – France
2. Anabela Costa – Sliding Stripes – France
3. Andy Thomas – Visual Bird Sounds – Australia
4. Arash Akbari – Gelîm – Iran
5. WOW Studio by D2D – UnBoxing the Infinite – Egypt
6. Flavia Mazzanti – Beyond My Skin – Brazil
7. Fredo Agudelo – mutanttales – Posterra – Colombia
8. Hassan Ragab – The City – The Wicked Emergence – Egypt / United States
9. Hernan Roperto – NOISE/SIGNAL (Visual Noise and the Infinite Data Flow) – Argentina
10. Jorge Bandera – Desconexion – Colombia
11. Pan – Towards a New Nature – China
12. Silvia Ruzanka – Plant Growth Dreams – United States
13. Ultravioletto – Mycelium – Natural Intelligence – Italy
14. Mario Klingemann – Liberation – Germany
15. ECA-USP Partnership – Micromacro – Brazil
16. IED Partnership – Surfaces – Brazil
Opening Performance
Date: July 15, 2025 (Tuesday)
Time: 7 p.m.
Location: Foyer | Fiesp Cultural Center
An-Ting and Ian Gallagher – Lost Communications 失絡之聲– Taiwan / United Kingdom
An audiovisual performance that explores light and darkness in nature. An-Ting uses recordings of birdsong and blends them with experimental electronic music, drone soundscapes, and intense beats. Ian Gallagher uses cutting-edge artificial intelligence technologies to document the duo's ideas and experiences, with live visuals that react in real time to An-Ting's music.
This performance is supported by the British Council and the organization Cryptic Glasgow.
FILE WORKSHOP 2025: Workshops Exploring Interactivity, Animation, and Critical Ecology – July 16–18
FILE invites artists, researchers, and students to participate in an intense program of workshops that intersect art, science, technology, ecology, and critical imagination. From July 16th to 18th , experts will lead unique training experiences open to students, professionals, and the general public. Check out the full program and secure your spot. Registration is now open! Click the registration link here.
WORKSHOPS
PROGRAM
Live Video: Image, Space and Interactivity – Dimitri Lomonaco
July 16th and 17th, from 10:00 am to 12:00 pm
The workshop combines visual arts and new media, using video mapping technology as a tool for visual compositions in physical space. Beyond screens, the projected image can affect a wide variety of surfaces (architecture, objects, bodies, etc.), transforming them into dynamic video screens. Thus, the video ceases to be a flat rectangle and creates the illusion of being an interactive element, becoming part of the space.
Dimitri Lomonaco is an artist and researcher of image and digital technologies in the field of expanded audiovisual. Integrating design, scenography, and lighting, he develops art and technology projects, creating immersive and sensitive visual experiences. He is currently a master's student in the Visual Arts program at ECA-USP and a member of the art and technology research groups Realidades (USP) and GIIP (UNESP).
Digital Fashion Development with AI and 3D – Priscila Nassar Galante Guedes
July 16, from 10:00 am to 11:00 am
A lecture and workshop on Digital Fashion with 3D and artificial intelligence, covering Priscila Nassar's career, concepts, and tools. The aim is to explore Digital Fashion as a means of experimenting with and creating narratives, characters, and digital art within the contemporary market.
Priscila Nassar's work involves researching new technologies and developing digital fashion narratives, utilizing resources such as 3D, CGI, and XR experiences involving augmented and virtual reality. The artist constantly explores new software and digital techniques, seeking to expand the creative boundaries of fashion and art.
Paper Worlds: Diorama with Prototyping – Realities Research and Extension Group
July 16th and 17th, from 2:00 pm to 6:00 pm
What would a world inside a paper box look like? In this workshop, each participant will create their own paper diorama—a scene constructed from overlapping paper cutouts. To do this, we'll learn how to use Inkscape, a free and open-source vector drawing program, and a cutting plotter, a digital fabrication tool. By the end, each participant will have created their own diorama, their own universe inside a paper box.
The Realidades Group (https://realidades.eca.usp.br/), founded in 2010, is a research and extension group at USP that works with art, technology and the concept of reality.
Digital Origami: Exploring Procedural Animation – João Otero
July 16, from 2:00 pm to 6:00 pm
This workshop introduces procedural animation, a technique that uses mathematical parameters to create automated movements. Using the free version of Houdini software, participants will learn how to digitally assemble and animate origami, exploring the software's features to simulate movements and behaviors. The creative possibilities of this approach will also be discussed, highlighting applications in animation, generative design, and visual effects.
João Otero is a visual artist, illustrator, animator, teacher, and visual arts graduate student at ECA-USP. He is a member of the Realidades research and outreach group. He holds a scholarship from the CAPES Teaching Initiation Program in the arts field; he also received a PUB scientific initiation scholarship, researching digital techniques applied to comic book production.
Technosoma: Sensitive Circuits in the Flesh of the Machine – David Da Paz
July 17th and 18th, from 10:00 am to 12:00 pm
In this workshop, participants will explore the fusion of body, technology, and artificial intelligence, creating interactive experiences with capacitive sensors and real-time generative models. Inspired by the concept of the Technosome—the machine as a sensitive, pulsating organism—the workshop explores how human touch can generate electrical signals that trigger audiovisual, auditory, and light responses. Microcontrollers (Arduino and ESP32), generative AI, and sensory interactivity will be covered.
David Da Paz is an artist, researcher, and developer specializing in AI, machine learning, and IoT. He has worked for over 10 years with interactive art, generative systems, and sensory installations. He participated in the Artropocode residency (Spain) and the Spontaneous Combustion Residency (London), exploring cyberurban performances and locative media.
P5.js in Performance Data Visualization: The Technoethics of Inclusion and Belonging – Clarissa Ribeiro; Rewa Wright; Jill Scott; Leona Machado
July 18, from 9:00 am to 1:00 pm
The FEMnomenal Art Collective offers a performative workshop that explores ecofeminism and the deconstruction of the division between human and nonhuman—a central dichotomy of colonial modernity. Through collaborative activities, performative data visualization, and interactive performances, the workshop addresses female empowerment, alternative growth ideologies, and technoethical aesthetics. Participants create generative visuals and perform symbolic acts that foster dialogues about care, equity, and transformation.
The collective is comprised of artists and researchers Dr. Jill Scott, Dr. Clarissa Ribeiro, and Dr. Rewa Wright. Together, they explore intersections between art, science, and social justice through creative practices that defy conventional boundaries.
Afterlife-Chimeras: Afterlives-Chimeras Hybridizing Ecological Memories Exploring Generative Aesthetics of AI – Clarissa Ribeiro
July 17, from 2:00 pm to 5:00 pm
Afterlives-Chimeras: Wetland Carbonized Memories reimagines ancient Egyptian animal mummification through the lens of ecological tragedy. Inspired by Brazilian swamps and the destruction of wildlife caused by agribusiness, mining, and the steel industry, the project uses AI (Krea.AI and Meshy.AI) to create hybrid creatures from images of charred animals. The chimeras, 3D printed with PLA, reminiscent of mummified linen, symbolize loss, transformation, and the urgency of ecological balance.
Clarissa Ribeiro is an Assistant Professor of Visual Arts at USP and former Director of Roy Ascott's Technoetic Arts Studio in Shanghai. A PhD holder with a Fulbright postdoctoral degree, she intersects art, science, and technology in morphogenetic practices, adopting animism as a way to navigate ecologies as cosmologies.
Animated Sprites Realities: Frame-by-Frame Animation for Games – Research and Extension Group
July 18, from 2:00 pm to 6:00 pm
Want to learn how game animations are created? In this workshop, we'll explore how animated sprites work, and you'll have the opportunity to create your own! Using free and accessible tools, we'll transform ideas into animated art and integrate them into the programming of a simple game.
The Realidades Group (https://realidades.eca.usp.br/), founded in 2010, is a research and extension group at USP that works with art, technology and the concept of reality.
(Dis)connection: Journey to Digital Wellbeing – Viviane da Silva Tavares
July 18, from 2:00 pm to 5:00 pm
The (Dis)connection workshop is an immersive in-person experience that invites participants to explore the impact of technology on their bodies and perceptions. Using high-quality projections and somatic practices, the workshop encourages conscious digital disconnection, offering tools for a healthier and more balanced relationship with technology.
Viviane Tavares is a researcher and digital wellness expert, focusing on the intersection of the body, technology, and design. With over 10 years of experience in the technology industry developing digital products, she uses contemporary dance and somatic practices to advocate for conscious disconnection in our hyperconnected world.
IED PARTNERSHIP
The partnership between IED and FILE began in 2010, and since then, several projects and collaborations have been carried out. In 2024, IED students participated in the FILE LED SHOW for the first time, and in 2025, they were invited again, reinforcing FILE's purpose of stimulating the creative production of young Brazilians, and IED's purpose of fostering interaction with relevant companies and cultural institutions like FILE and giving students the opportunity to showcase their talents.
Synopsis:
Concrete beams, glass, brick walls, cement… Buildings are built to last, to withstand time. LED screens, on the other hand, thrive on the light they emit—they turn on, blend, and fade. They are ephemeral.
When a building is clad in LEDs, the permanent and the transient meet, between what already is and what might become. In the iconic FIESP building on Avenida Paulista, surface design
transforms architecture into a field of experimentation. There, students from IED SP explore new possibilities for this building's existence, redefining the structure through animated light and design.
Project Coordination
Eliane Weizmann
Supervising Professor
Daniel Grizante
Participating students
Bea Vazzoler
Bruna Cardoso PiteriI
Giorgia Marconi
Lua Sosnowski Marchezi
Mariah Gandra
Micaella Campreguer de Oliveira
Raphael de Godoi Rose
Victoria Rebuzzi
ECA-USP PARTNERSHIP
Micromacro
In the LED SHOW category, the partnership between FILE and the Visual Arts Program of the Department of Fine Arts of the School of Communications and Arts at the University of São Paulo resulted in works developed under the guidance of Prof. Dr. Silvia Laurentiz, and with the collaboration of Dimitri Lomonaco. This partnership seeks to reaffirm the connection between the Festival and the University, supporting the stimulation and production of art in new media: a unique opportunity to access languages, cutting-edge technologies, and innovative resources for reflection and experimentation within the artistic environment and across cultural circles. Micrômacro is a compilation of independent videos, developed based on the following synopsis:
Synopsis:
What distinguishes the whole from the part? Where is the limit between us and the self? At what point do I separate myself? This work is a collection of investigations into the indivisible length of the split, the boundary between what separates and what unites. Micromacro is the result of this division. A significant unity of contrast. Part/Whole of the world. Present in each part, everywhere, chrono-micro-macro-macro between us.
Project Coordination
Silvia Laurentiz
Participating students:
Alana de Oliveira
Alice Verissimo
Ana Bisinoto
Edwards Piero
Eloá Raffo
Fernando Maus
Francesco Garbelotti
Giovanna Brum
Helena Ribeiro
Helena Rotermund
José Victor
Juliana Suenaga
Julio Cesar
Leon Marques
Leon Pepi
Luiz Otavio
Luiza Takeda
Malu Carvalho
Marco Zotti
Oribeiro
Roberto Nachiluk
Tainá Milanese
Tiffany Boaventura
Tres Maglio
Support for
the Realities Research and Extension Group – ECA∕USP
FREE ENTRY
FIESP Cultural Center
Paulista Avenue, 1313, São Paulo
In front of the Trianon-MASP station
centroculturalfiesp.com.br
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