The title [Full Screen Robovision] for the moving image works category for the 2004 edition of the Machinista Festival encouraged the exploration of "the world as seen by the machine" scenario and the "audiovisual code" concept. The call aimed at experimental/ scientific imaging, video art, software art, animations, VJ mixes and man-machine performance documentations to be uploaded on the online gallery. Over 80 project were entered to investigate real and fictitious visual data representation by humans, machines and other vaguely intelligent systems.

Amongst the works presented, some literal interpretations of the subject make use of medical 3D scanning techniques , image processing and computer modelling experiments as the machine's "enhanced" representation of its surroundings.

Various aesthetically striking sound and data visualisation techniques have been proposed, along with other inadvisable hardware manipulations, developing new ideas for a human-eye translation of the machine's internal workings (audiovisual code) .

The glitch and system crashes are present throughout many video tracks, collected and catalogued as the hope of a secret glimpse into the processor's conscious awakening through its dystopic video SOS signals.
Indeed we can see the machine's own embryonic language as video signal being generated through various analogue and digital feedback methods.

Human interpretations of Robovision, using video and animation are featured with a new level of understanding that reflects the advanced integration of digital technology in the creative visual process. Many artists, accustomed to thinking through computers, are creating new visual genres such as "design cinema" and "flash narrative" whilst others totally reject the software industry's spiralling drive towards compulsory hardware upgrade and instead return low tech aesthetics of the 8-bit and ASCII era.

Last but not least, image search engines, VJ and sampling culture and the increased availability of Open Source and Copyright-free movie archives are inspiring new visual collage experimentation. Although very human in substance, these developing styles may give us some insights into the way computers could apply language + image recognition techniques to analyse the vast stock of human-made films and literature to be further processed into their own Robovisual masterpieces.