Presentation


ARTeFACTo 2018 is the 1st International Conference on Transdisciplinary Studies in Arts, Technology and Society, hosted by Aberta University, in Lisbon, Portugal.

The inaugural edition of the ARTeFACTo conference will be held on the 16th and 17th of November, at Palácio Ceia, in Lisbon, Portugal.

The goal of the conference is to promote the interest in the current digital/media culture and its intersection with art and technology as an important research field while focusing on the study of the digital media / computer artefacts embracing topics covering their conceptualization, design, creative/art practice/research processes, computational implementation, exhibition and fruition as well their role on today’s information and knowledge society. Also welcome are articles fostering the establishment of the conceptual foundations of an artefact theory in the digital media world.

ARTeFACTo 2018 aims at giving greater visibility to artefact creators or interveners, being these theorists or practitioners, establishing a common space for discussion and exchange of new experiences from transdisciplinary humanistic and holistic perspectives while fostering better understanding about digital arts and culture across a wide spectrum of cultural, disciplinary, and professional practices.

To this end, we cordially invite scholars, teachers, researchers, artists, computer professionals, and others who are working within the broadly defined areas of digital arts, culture and education with specific focus on artefacts / installations to join us.


Important Dates

  • Full and Short paper submissions: September 10, 2018
  • Art artefacts / installations / digital media artwork proposals: September 10, 2018
  • Full and short papers notice of acceptance: October 2, 2018
  • Installations proposal notice of acceptance: October 2, 2018
  • Submission Full and Short paper final versions: October 14, 2018
  • Early registration deadline: October 14, 2018
  • ARTeFACTo 2018 Conference: November 16-17, 2018

Invited artists and speakers

It is with great pleasure that we can confirm the presence of the invited Keynote Artist, Prof. Jônatas Manzolli, and the invited Keynote Speakers, Prof. Florent Pasquier and Prof. Heitor Alvelos at ARTeFACTo 2018.

  • Jônatas Manzolli

Their contributions will undoubtedly consolidate the success of the inaugural edition of ARTeFACTo and the conference organisation cannot feel but deeply grateful and honoured by their presence.

INVITRO-Gerador featured artists

INVITRO-Gerador is a distance artistic residency sponsored by DGArtes (the Directorate-General for the Arts, of the Portuguese Government), Artech-International, Aberta University, CIAC – the Research Centre in Communication and Arts (Centro de Investigação em Artes e Comunicação), the International Society for Education through Art (InSEA) and the Association of Visual Expression and Communication Teachers (APECV).

The REALTIME RUNTIME PEOPLE project set the challenge to create digital media art installations that question our relationship with technology, and how it is transforming people into real-time, runtime, connected, and technology-mediated beings.

These artists will present their work at the ARTeFACTo conference, as well as their respective monographs, assembled from their graphic journals and artistic manifestos.

Social Program

Tickets for the conference dinner and for the social Program must be purchased during the registration process or prior to their start, depending upon availability.

17th of November, 15:00

Private bus towards the Belém district. The tour includes:

Visit to The Monument to the Discoveries (in Portuguese “Padrão do Descobrimentos”).  Created by Cottinelli Telmo (1897–1948) and the sculptor Leopoldo de Almeida (1898–1975), it was first erected in 1940, in a temporary form, as part of the Portuguese World Exhibition. Built with perishable materials, it had a light iron and cement frame, while the moulded sculpture was made of gypsum (formed of plaster and burlap, and reinforced by a wooden and iron structure). The monument was reconstructed in 1960 to mark 500 years since the death of Prince Henry, the Navigator. This time it was made of concrete and rose-tinted Leiria stone masonry, with the sculptures made of Sintra limestone masonry. The Centro Cultural das Descobertas was opened in 1985. Architect Fernando Ramalho remodelled the interior, giving the monument a viewpoint, auditorium and exhibition hall.

Visit to MAAT – The Museum of Art, Architecture and Technology. Presenting itself as a new cultural centre in the city of Lisbon, the MAAT represents an ambition to host national and international exhibitions with contributions by contemporary artists, architects and thinkers. The modern building is the central figure of the 38.000 square meters Campus that the EDP Foundation occupies on the banks of the Tejo River. Here, the iconic power station dating back to the early 1900s, and the new kunsthall designed by London architecture firm Amanda Levete Architects, coexist and offer a diverse cultural programme. The Tejo Power Station has been modernised, maintaining its dedication to science and providing four galleries for the MAAT programming. The two buildings are united by an outdoor park, conceived by landscape architect Vladimir Djurovik, offering an outstanding leisure space along Lisbon’s riverbank.

Tasting of Pastel de Nata (Lisbon’s special custard tarts).

Dinner in the Belém district.

Return to Palácio Ceia.

Teresa Barradas


Filozelle

“Filozelle” is an interactive artefact, presented in the form of an embroidered and painted linen tapestry. It supports a number of actuators that, programmed, responds to a proximity sensor and a voice recognition system. It based on three realities: the symbiosis between design and technology, resulting in original artistic expressions in the ambit of creativity and aesthetics, the interaction between humans and machines through natural language, seeking to explore the improvement of communication between both, and the reality of the traditional embroideries that fight for its preservation and valorization, in this case applied to the culture of Santa Catarina da Fonte do Bispo, Tavira. New aesthetics of Digital Art may contribute to reactivate the interest and value of Traditional Embroidery in Portugal, to deconstruct its logic and reintroduce in the contemporary imaginary.


Bio notes

Maria Teresa Saruga Barradas Casteleiro Penacho, is an Adjunct Professor at Escola Superior de Educação on Beja, of Arts, Humanities and Sports Department, holds a PhD in Media-Digital Art from Universidade Aberta and Universidade do Algarve and a post-doctorate in Art Multimedia at the Faculdade de Belas Artes of Universidade of Lisboa. She has participated in several national and international conferences and has published several articles on Wearables Computers, Body as Interface, Biocybernetic Body, Textile Materials, Tradition and Technology in Traditional Embroidery and Fashionable Technology. Teresa also worked as a designer from 1998 to 2016 and was one of the founding partners of the Creative Industry: P. Gráfica, Indústria de Comunicação Gráfica Lda, which developed several works in Visual Design and Design Expo. Currently she is a researcher at CIAC (Centro de Investigação em Artes e Comunicação of Universidade Aberta and Centro de Investigação em Artes at the Universidade do Algarve) and CIEBA (Centro de Investigação e de Estudos em Belas-Artes) and develops some projects on Digital-Media Art.

Paulo César Teles


Pontos G – Chakras Invertidos

“Pontos G – Shakras Invertidos” é uma instalação sensorial interativa baseada em plataforma sensorial. Por meio de captadores de movimentos de aproximação ela promove comunicações e expressões de cunho estético ativadas pela mobilidade corporal de seus interagentes. Construída e produzida no local de sua ocorrência, uma escultura radiante de sete cores, cujo formato remonta a um arcabouço de espinha e costelas, convida os presentes a passarem pelo seu interior sensorizado e se tornarem agentes expressivos de suas manifestações.

Na anatomia feminina, o chamado “ponto G” é um determinado local no interior da genitália que provoca um pico emocional acima da média corrente. Porém, seja na antiguidade ou na contemporaneidade todo o ser humano passa por situações que também causam “picos” na sua carga emocional “em tempo real” de modo nem sempre prazerosos. Enquanto as correntes orientais atribuem tais variações ao (des)equilíbrio dos shakras (pontos energéticos primordiais localizados linearmente da cabeça ao baixo quadril), a psicanálise orgonótica de Wilhelm Reich argumenta por uma “energia vital” dinamizada em quatro momentos distintos: tensão, carga, descarga e relaxamento.

Deste modo, este projeto artístico buscará discutir a percepção contemporânea “do eu e seu entorno” a partir de um conjunto de sonoridades locais recém gravadas e distorcidas na instalação pelo próprio público. Assim, de “dentro para fora” o “ponto G”, de cada shakra desprende energias metaforizadas em som e luz referentes à tensão, à carga, à descarga e ao relaxamento, cuja combinação entre elas, geradas na interação com o indivíduo, produz variações afetivo-racionais entre prazer, êxtase, alívio, tensão e frustração.

Esta ressignificação estética de uma possível fusão entre shakras e energia vital orgonótica tem sido por nós explorada desde 2008 em obras de formatos e consequências, ocorridos no Brasil (2009, 2011, 2012 e 2015), Espanha (2009) e Hunfria (2011) são singulares e únicos. Desta forma, este “releitura” vem a propor uma “obra final” inédita e distinta de todas as outras manifestações anteriores.


Bio notes

Paulo César da Silva Teles é professor de ensino superior, pesquisador e artista multimídia (midiartista). Graduado em Rádio e Televisão pela Faculdade de Arquitetura, Artes e Comunicação da UNESP (1992); Mestre em Multimeios pelo Instituto de Artes da UNICAMP (2001); Doutor em Comunicação e Semiótica pela PUC – SP (2009), com Pós-Doutorado pela Escola de Comunicações e Artes da USP (2015). Atualmente é Professor Doutor do Instituto de Artes da UNICAMP nos programas de Pós Graduação em Artes Visuais (IA) e em Divulgação Científica (Labor); nos cursos de Especialização em Design Gráfico e em Produção, Gestao e Design em Novas Mídias para a Educação; e nos cursos de graduação em Artes Visuais e Comunicação Social – Midialogia.

Com mais de trinta anos de atuação dedicada à produção artística, à comunicação multiplataforma e a educação inclusiva pela arte, tendo muitos de suas obras, pesquisas trabalhos produzidos e exibidos no Brasil e em mais de 10 países, suas atuais produções e pesquisas se vertem aos campos da arte tecnológica; dos processos interativos em mídias emergentes; da linguagem audiovisual; da transcultura e da arte-educação.

Pedro Alves da Veiga


You&Me (the infinite constellation of our senses)

In the era of hyper-connectivity, human relations are paradoxically increasingly mediated by technology. So now the real challenge is to use art and technology in such a way that people are brought together in direct, unmediated communication and relationships. You&Me is an interactive installation that acts as a mirror, not a mediator, of human communication. Two interactors must use gestures and visual feedback or vocal communication in order to coordinately unlock six different poetic stages, each one a part of Casimiro de Brito’s poem “O Amigo” (The Friend), transformed into an audio-visual sensory explosion.

YOU&ME is an interactive generative installation destined to be used simultaneously by two people (you and me). It is based on the poem “O Amigo” (The Friend) by Portuguese author Casimiro de Brito. The poem is vividly populated by symbols and metaphors, which provided generous ground for multimedia interpretation. Each individual is thus represented by a floating, beating heart. Both are side by side, pulsating and floating over a sea of molecules, inspired by the role of the “love molecules” phenylethylamine, dopamine, and norepinephrine. Both individuals will need to work collaboratively in order to reveal the six metaphorical (and literal) parts of the poem, as a reward for their closeness and collaboration. As they achieve positive results in this endeavour, both hearts will start coming closer together, until they fuse in an explosion of sound, text, and images, like the euphoria of love, of which friendship is a manifestation.


Bio notes

Pedro is an artist and researcher. He holds a degree in Computer Science, a post-graduation in Advanced Studies of Digital Media Art and a Ph.D. in Digital Media Art (summa cum laude), following a two-decade business career in web-design and information systems, including the launch and sale of two IT companies. He is a member of CIAC – Centro de Investigação em Artes e Comunicação, where he is conducting research in multimedia generative systems and also on the impacts of experience, attention and ubiquity economies in digital art ecosystems. Since 2001 he has participated in several group and individual art exhibitions and projects, in visual arts, theatre and in digital media art.

http://pedroveiga.com

wreading digits


(DES)CONEXÃO 2.0 Disjecta membra

By artist collective wreading digits, in collaboration with media artist Pedro Ferreira, is a cyberpoetic artifact developed under the artistic residency “Realtime Runtime People”, promoted by the INVITRO-Gerador. Having its first instantiation [realtime], in July 2018, at Atelier Concorde Lisbon, as a #cyberpoetic installation complemented with #livecoding #liveremixing #performance, (DES)CONEXÃO is now presented at ARTEFACTO 2018, in a completely different way; without its digital component. The intention at stake here is to reinforce its initial questioning – a reflection on the ways technologies alter our perception of time –, by giving visibility and expressiveness to textual and poetic layers behind the surface of the artifact. In dissecting the machine and its fragmented layers of different data, certain experimental writing techniques used, that allow us to extend the word, and therefore the text,  – such as combinatorics, literary cut-ups, or fold-ins – are cut wide open. Beyond the circular walls of this anatomical theatre, the remains of these mediated and transmutated philosophical stone(s), once modified, filtered, sublimated, multiplied, and sometimes even self-generated are revealed. In runtime.


Bio notes

wreading digits is a #visual #digital #experimental #transdisciplinary artist collective focused in the disruptive exploration of bridges between arts, curatorship and creative research. Their cyberliterary works were present in International Art Festivals, such as PLUNC 2015, ELO 2017, FOLIO 2017 and FILE 2017.

Ana Gago: New media artist. Communications Officer and Project Manager, specialized in the ONG sector. Master in “Regional Studies”. PhD student in “Heritage Studies”, School of Arts – Universidade Católica (Porto). Born in Lisbon, 29/07/1987.

Diogo Marques: New media artist, creative researcher and curator. Presently Research fellow at the University Fernando Pessoa (Porto, Portugal). Ph.D. in the Materialities of Literature (School of Arts, University of Coimbra). Born in Lisbon, 27/11/1982.

João Santa Cruz: Full time developer for mobile applications, working every day to find creative ways to deal with the challenges of real life. (Personal website: (http://joaosantacruz.com)

Pedro Ferreira: Media artist based in Berlin and Ph.D. student in Multimedia Arts (Faculty of Fine Arts, Lisbon). Master in Multimedia Arts and Culture (University of Porto). His focus is on experimental and documentary film, video installation, sound and performance.

Keynote Artist


Ode to Christus Hypercubus

As resonances from walls and arch of Cathedrals, computer-generated sounds, a pianist, a mezzo-soprano and a virtual choir perform an Ode to Salvador Dalí’s Christus Hypercubus. A diffused acoustic field generated with music fragments invites the audience to discover and recreate meanings for the Catalan’s masterpiece. It is sought to take the audience to immerse in resonances that would still persist from walls of Cathedrals. The sound space is fulfilled with multi-sources of sacred music alliterations.

Constructed via computational support, it orchestrates sixteen compositions in miniatures called “stanzas of the Ode”. These are described here as the reconstruction of the Medieval Organum that is a constant electroacoustic drone accentuates resonances in which time is expanded to re-expose fragmented chants that still linger on the walls and in the arches. Using interactive techniques the Ode attempts to explore human cognition and understand how creativity operates in a multimodal performance.

Prof. Manzolli will be accompanied by singer Beatriz Maia,


and pianist Helena Marinho.


Bio notes

Jônatas Manzolli combines contemporary musical creation and cognitive sciences focusing on the dialogues between music and science. The interdisciplinary study results in electroacoustic, instrumental, and multimodal works. A composer and mathematician, full professor of the Institute of Arts, University of Campinas, Brazil, he is a pioneer in the Brazilian research in computer music. He has been a guest researcher at the Institute for Neuroinformatics, Switzerland, and the SPECS Group (SPECS) at the Universitat Pompeu Fabra, Barcelona. He is also a collaborator of the CIRMMT, McGill University, Montreal.

Jônatas Manzolli’s most notorious achievements have emphasized the delicate relationship between man and machine, including the use of artificial intelligence as digital interfaces such as Ada: Intelligent Space (2002) and the Multimodal Brain Orchestra (2009). His compositions also include large orchestral settings such as the multimodal opera Descobertas (2016). He has received numerous grants and awards including the recent Rockefeller Foundation “Arts & Literary Arts” Award to be an artist resident at the Bellagio Centre, Italy in April 2018.

Keynote Speaker


«Trans» Approaches: from Myth to Realities

The conference will highlight the work and guiding ideas of transdisciplinarity specialists, emphasizing their current relevance. The speaker will propose a methodology for recognizing how the notion of a “hidden third” makes itself apparent within theory, practice, and the arts. The “hidden third” is particularly visible at the crossroads of personal, professional, and collective development actions. The presentation will thus explore the question of «subjects» and «objects», those acted and those acted upon, in the context of how digital and technological tools (i.e., technontologies) are evolving, in order to determine whether each of us should favor transdisciplinarity or instead take a step further by embodying newer paradigms.


Bio notes

Following his university studies in social and human sciences, Florent Pasquier specialised in communication sciences, new technologies and educational sciences. This interdisciplinary approach facilitates his current global analysis of contemporary issues, including digital media creation and related teaching methods. After several years spent in consulting and research engineering activities, he is now Associate Professor at Sorbonne University (Paris, France) and particularly involved in the formation of future teachers. His current research emphasises transdisciplinarity, transpersonal psychology, and digital humanities.

pasquierflorent.wixsite.com/pasquier