The official and final version of ARTeFACTo 2018’s Book of Proceedings in PDF format can now be downloaded here:
Proceedings
Brainshops
At ARTeFACTo 2018 we will be testing a new ground-breaking concept: the Brainshop = BRAINstorming + workSHOP. There will be three co-creative sessions, presided by leading names in the transdisciplinary areas of Art, Technology and Science, where all participants will be invited to take part. The sessions will last for approximately 30-40 minutes and aim at producing as output research and collaboration ideas for projects, performances, artworks, artefacts or future conference tracks.
This will be an opportunity for all the participants to creatively engage in profitable discussions, to work with authors, artists and experienced researchers in their areas of expertise, potentially giving birth to new research projects and collaborations. Conclusions from all three Brainshops will be presented before the closing session by their respective Brainshop Masters.
Please choose your Brainshop Track and do all the necessary preparation to best suit you for the collaborative activities. Upon arrival at the conference, during local registration, please let the Secretariat know what is your choice.
Brainshop Track 1
Brainshop Master: Priscila Arantes
Brainshop Subject: Curating the exhibition of digital artefacts: continuity, evolution or disruption.
Brainshop Objective: to collaboratively propose a state of the art in curating digital artefact exhibitions, and open the possibility of a new ARTeFACTo conference track in future editions.
Brainshop Track 2
Brainshop Master: Jônatas Manzolli
Brainshop Subject: Multimodal composition: meetings, dialogues and process.
Brainshop Objective: to develop the design of a multimodal performance for an artistic collaboration and collaboratively summarize the process.
Brainshop Track 3
Brainshop Master: Adérito Fernandes-Marcos
Brainshop Subject: Artefacts and the digital creation cycle/process.
Brainshop Objective: To discuss the nature of artefacts and practices examples of the digital creation/research cycle.
Conference Program
16th of November
LIVE STREAMING – https://videoconf-colibri.
9:00 Registration and Reception
9:30 Opening Session
Aberta University Dean
President of Artech-International
Director of CIAC
International Scientific and Artistic Committee Chairman
Organising Committee Chairman
10:00 Opening Performance – Keynote Artist
Ode to Christus Hypercubus: creative process of a multimodal performance
Jônatas Manzolli, University of Campinas, Brazil
Helena Marinho (pianist), University of Aveiro, Portugal
Beatriz Maia (soloist), University of Aveiro, Portugal
10:30 Coffee Break and Opening Exhibition – All Artists
Session chair: Pedro Alves da Veiga, Aberta University, Portugal
11:15 Opening Keynote
«Trans» approaches: from myth to realities (click to download)
Florent Pasquier, Sorbonne University, France
Session chair: Adérito Fernandes-Marcos, Aberta University, Portugal
11:45 Panel Session (short-papers – 15 mins)
Pablo-Martín Córdoba. L’inter-code
Tiago Cruz, Fernando Paulino, Mirian Tavares. CulturalNature Arga#4: Meta-representações da Paisagem
Maria Matos. Gut
Camila Mangueira Soares. Selfie-tracking
Hernando Urrutia. + PROJECTION AC – Contemporary Art Video Artefact Projection in the Public Space
Session chair: Elizabeth Carvalho, Aberta University, Portugal
13:00 Lunch
14:30 Panel Session (full-papers – 20 mins)
Diogo Marques. The Fool, the Sage, the Bard (into the Machine): Knocking Down Ivory Towers through Creative Research
Adriana Nunes, Pedro Martins, Amílcar Cardoso. Video Sonification
Bruno Mendes da Silva, Mirian Tavares. Cadavre Exquis Expanded
Session chair: António Araújo, Aberta University, Portugal
15:30 Keynote Speaker
The Magic Trick of Vanishment: why the term “future” no longer suits a medialab
Heitor Alvelos, University of Porto, Portugal
Session chair: José Bidarra, Aberta University, Portugal
16:00 Coffee Break
16:15 Invitro-Gerador Panel Session (short-papers – 15 mins)
Paulo Teles
Pedro Veiga
Teresa Barradas
wreading digits
Session chair: Bruno Silva, University of Algarve, Portugal
17:30 Brainshops (Brainstorming Workshops)
Session chairs:
Adérito Fernandes-Marcos, Aberta University, Portugal
Jônatas Manzolli, University of Campinas, Brazil
Priscila Arantes, Paço das Artes and Anhembi Morumbi University, Brazil
At ARTeFACTo 2018 we will be testing a new ground-breaking concept: the brainshop = BRAINstorming + workSHOP. There will be three co-creative sessions, presided by leading names in the transdisciplinary areas of Art, Technology and Science, where all participants will be invited to take part. The sessions will last for approximately 30-40 minutes and aim at producing as output research and collaboration ideas for projects, performances, artworks, artefacts or future conference tracks. This will be an opportunity for all the participants to creatively engage in profitable discussions, to work with authors, artists and experienced researchers in their areas of expertise, potentially giving birth to new research projects and collaborations. Conclusions from all three brainshops will be presented before the closing session by their respective leaders.
18:30 Musical Performance
Jônatas Manzolli, University of Campinas, Brazil
19:30 Conference Dinner (separate registration required)
17th of November
LIVE STREAMING – https://videoconf-colibri.
9:30 Panel Session (full-papers – 20 mins)
Rui Gaspar. Prazer de ler na Prazerosa
Marcos Mucheroni. Galeria de Arte Multimodal, o Tesseracto e o Holograma
Priscila Almeida Cunha Arantes. Memória, Arquivo e Curadoria na Cultura Digital
Mirella Misi, Ludmila Pimentel. Bodymedium como interface conceitual entre as categorias de Embodiment (Merleau-Ponty) e de Embodiment Relations (Don Idhe) aplicado à Dança Digital
Session chair: Adérito Fernandes-Marcos, Aberta University, Portugal
10:50 Coffee Break
11:00 Panel Session (short-papers – 15 mins)
Alicia González-Pérez, José Bidarra, Mauro Figueiredo, Beata Godejord.Breaking barriers in learning Math: Architecture of the MILAGE Learn+ App
Ana María Marques Ibáñez. Ecological videogames as a means to raise environmental awareness
Dorotea Bastos, Mirian Tavares. Corpo-ensaio: experiments on the poetics of the body
Session chair: Elizabeth Carvalho, Aberta University, Portugal
11:45 Brainshops Conclusions
Speakers:
Adérito Fernandes-Marcos, Aberta University, Portugal
Jônatas Manzolli, University of Campinas, Brazil
Priscila Arantes, Paço das Artes and Anhembi Morumbi University, Brazil
Session chair: Pedro Alves da Veiga
12:30 Closing Session
President of Artech-International
Organising Committee Chairman
13:00 Buffet-lunch
15:00 Social Program (separate registration required)
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.
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).
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 – Chakras Invertidos” is an interactive sensory platform-based installation. By means of proximity sensors triggered by movements, it promotes communications and aesthetic expressions activated by the body mobility of its interactors. It is a location-based radiant sculpture of seven colours, whose format goes back to a spine and rib cage, inviting the audience to pass through its sensorial inner section and become expressive agents of its manifestations.
In the female anatomy, the so-called “G-spot” is a certain place inside the genitalia that causes an above average sensorial peak. However, whether in antiquity or in the contemporary world, every human being experiences situations that also cause”real time” spikes in their emotional load, not necessarily always pleasant. While oriental currents attribute such variations to the (un)balance of the chakras (primordial energetic points located linearly from the head to the lower hip), Wilhelm Reich’s orgonotic psychoanalysis argues for a “vital energy” triggered at four distinct moments: tension, charge, discharge and relaxation.
In this way, this artistic project will seek to discuss the contemporary perception “of the self and its environment” from a set of local sounds, recorded and distorted in the installation by the public itself. Thus, from “inside out” the “G-spot” of each chakra gives off metaphorised energies in sound and light concerning tension, charge, discharge and relaxation, whose combination is generated in the interaction with the individual, and produces affective-rational variations between pleasure, ecstasy, relief, tension, and frustration.
This aesthetic re-signification of a possible fusion between chakras and orgonotic vital energy has been explored since 2008, in works of formats and consequences, occurring in Brazil (2009, 2011, 2012 and 2015), Spain (2009) and Hungary (2011) which are unique and singular. Thus, this “rereading” comes to propose an unpublished “final work”, distinct from all previous manifestations.
Paulo Teles wishes to acknowledge the collaboration with multimedia artist, screenwriter and audiovisual producer Juliano Prado,
theatre director, set designer and sculptor, Jésus Seda
and actress, handicafts artist and teacher Rosana Bernardo.
Bio notes
Paulo Cesar Teles is a media-artist, graduated in Radio and Television from the Faculty of Architecture, Arts and Communication at Paulista State University – UNESP (1992); Master in Multimedia by the Institute of Arts of UNICAMP (2001); PhD in Communication and Semiotics at PUC-SP (2009), with a postdoctoral degree from the School of Communications and Arts at USP (2015). Professor of Higher Education since 2001 and Professor of the Arts Institute of the State University of Campinas – UNICAMP since 2011, he works in the Graduate Programs in Visual Arts (IA) and in Scientific Publicity (Labjor); in the course of Specialization in Graphic Design and in the undergraduate courses in Visual Arts and Social Communication – Midialogy.
With more than thirty years of performance dedicated to artistic production, during which many of his artefacts and research works have been produced, exhibited and presented in Brazil and in more countries, he currently develops multimedia sensory installations. His present artistic productions and academic research are focused on technological art; interactive processes in rising media; audiovisual narratives; transculture; and multiplatform edu-communication through Art. He is also coordinator of the ARTME Research Group (Art, Technology and Emerging Media: Development, Literacies and Transculture) and research member of the MANTIS Research Group (Color, Tint and Visual Syntax).
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. The poem is vividly populated by symbols and metaphors, which provided generous ground for multimedia interpretation.
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.
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.
Keynote Speaker
The Magic Trick of Vanishment:
why the term “future” no longer suits a medialab
This talk will argue that the creative and cultural fields currently face a lexical paradox: key terms in our core vocabulary have, in recent years, been dislocated towards contexts of efficiency and productivity in opposition with the original intent and impact of those terms. Innovation, creativity, participation, community, sustainability: all point towards a desire for the fulfilment of a vague utopia that would enmesh art and technology in a kind of subjective determinism, tending to both prosperity and emotion.
The term “future” has often been at the forefront of this benevolent and legitimate intent; however, outside of strategic agendas, it has come to congregate and reveal deep insecurities and anxieties, a further paradox where, on one hand, we are invited to subscribe to deterministic technological wonderment, while on the other hand worrying at the volatility and uncertainty of the various impacts of said technology: social, economic, existential, neurological.
For ten years, “FuturePlaces” acted as a festival/medialab operating under the belief that a strengthening of the bonds between technology and contextual use could help dissolve the above dilemmas and paradoxes; we will present various instances where these dilemmas were felt, and discuss how they were addressed. In parallel, we will make a case for the abandonment of the original designation of the festival/medialab, arguing that the term “Future” is currently unable to transcend a paradox of ominous optimism.
Bio Notes
Since 2000, Heitor Alvelos develops audiovisual work with Touch, Cronica Electronica, Ash International and Tapeworm. He is the Ambassador in Portugal of the KREV project since 2001. Projects include Autodigest (since 2002), 3-33.me (since 2012) and Antifluffy (since 2013). Current research interests include the lexical implications of new media, the ecology of perception, and cultural criminology.
Professor of Design and New Media at the University of Porto. Director of the PhD Program in Design (U.Porto / U.Aveiro/ UPTEC / ID+). Director, on behalf of U.Porto, of the Institute for Research in Design, Media and Culture / Unexpected Media Lab. Chair of the Scientific Board (HSS) at the Foundation for Science and Technology (2016-present, member since 2010).
Member of Academia Europaea, Executive Board Member of the European Academy of Design and Advisory Board Member for Digital Communities, Prix Ars Electronica. Former outreach Director of the UTAustin-Portugal Program for Digital Media (2010-2014). Curator, FuturePlaces medialab for citizenship, since 2008.
PhD (Royal College of Art, 2003).
MFA (School of the Art Institute of Chicago, 1992).
ARTeFACTo 2018 conference
The inaugural edition of the ARTeFACTo conference, to be held on the 16th and 17th of November, at Palácio Ceia, in Lisbon, Portugal, has just been officially launched, together with the respective calls for participation and papers.
Confirmed Keynote Artists and Speakers
The goal of the conference is to promote the interest in 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.
It embraces topics covering their conceptualization, design, creative/art practice/research processes, computational implementation, exhibition and fruition as well as their role on today’s information and knowledge society. Also welcome are topics and participations fostering the establishment of the conceptual foundations of an artefact theory in the digital media world.
Confirmed Keynote Speakers
Florent Pasquier, Paris-Sorbonne University, France (FR)
Heitor Alvelos, University of Porto, Portugal (PT)
Confirmed Keynote Artist
Jônatas Manzolli, Campinas University, São Paulo, Brazil (BR)
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 of 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 in Lisbon.
Lisbon by night
Arch at Augusta Street
Cacilheiro boat
Old town
Jerónimos Monastery
Castle of St. George
Oceanário
25th of April bridge
About ARTeFACTo
ARTeFACTo is a transdisciplinary studies journal and conference centred around the concept in the genesis of its name: digital media and computer artefacts.
It aims at giving visibility to all digital media and technology based artefacts, creators or contributors, from a transdisciplinary humanistic and holistic perspective of integration and composition.
The main objective is the construction and dissemination of knowledge through descriptions of artistic practice, authorship or co-authorship (including the narration and description of other works) and graphic data (images, diagrams, animations, drawings, sketches, among others).
The Journal is open to international contributions of all those involved in the study of the digital media / computer artefacts, embracing their conceptualisation, design, creative and research processes, computational implementation, exhibition and fruition as well their role on today’s information and knowledge society. Also welcomed are articles fostering the establishment of the conceptual foundations of an artefact theory in the digital media world. Accepted articles shall be original (in compliance with the standards of conduct of the COPE – Code of Conduct and Good Practices) in Portuguese and English, with a mandatory abstract in English.
The Conference has the same goals as the Journal though additionally providing a specific floor for the exhibition of artefacts along with their presentation and discussion.
All submissions will be evaluated by peer review, including two advisors from the Scientific Council. All feedback will be sent to the authors, indicating their approval, refusal of publication or requests for correction or recast. Once the entire selection process has been completed, the authors will be notified of the publication.
ARTeFACTo is an initiative of Artech International.
Organization
Honourable Chair
Basarab Nicolescu, CIRET, France (FR)
Conference Chairs
Adérito Fernandes Marcos, Chairman, Aberta University, Portugal (PT)
Gavin Perin, Vice-chair, University of Technology Sydney, Australia (AU)
Marcos Luíz Mucheroni, Vice-chair, São Paulo University, Brazil (BR)
Ângela Saldanha, Vice-chair, European Regional Council – International Society for Education Through Art (ERC – InSEA), Netherlands (NL)
Keynote Artist
Jônatas Manzolli, Campinas University, São Paulo, Brazil (BR)
Keynote Speakers
Florent Pasquier, Paris-Sorbonne University, France (FR)
Heitor Alvelos, University of Porto, Portugal (PT)
International Scientific and Artistic Committee
Pedro Alves da Veiga, President, Aberta University, Portugal (PT)
Carlos Sena Caires, Vice-president, University of Saint Joseph, Macau (MO)
Adam Nash, RMIT University, Australia (AU
Alberto García Ariza, University of Vigo, Spain (ES)
Aleksei Lipovka, Siberian Federal University, Russia (RU)
Alicia González-Pérez, University of Extremadura, Spain (ES)
Ana Amélia Carvalho, University of Coimbra, Portugal (PT)
Anton Nijholt, University of Twente, Netherlands (NL)
António Araújo, Aberta University, Portugal (PT)
António Valente, University of Aveiro, Portugal (PT)
António Lacerda, University of Algarve, Portugal (PT)
Bruno Silva, University of Algarve, Portugal (PT)
Cecília de Lima, Faculdade de Motricidade Humana, Portugal (PT)
Cristina Sylla, University of Minho, Portugal (PT)
Elizabeth Carvalho, Aberta University, Portugal (PT)
F. Amílcar Cardoso, University of Coimbra, Portugal (PT)
Heitor Alvelos, University of Porto, Portugal (PT)
Ido Aharon Iurgel, Rhine-Waal University of Applied Sciences, Germany (DE)
João Paulo Queiroz, University of Lisboa, Portugal (PT)
José Alberto Gomes, Braga Media Arts, Portugal (PT)
José Bidarra, Aberta University, Portugal (PT)
José Coelho, Aberta University, Portugal (PT)
Leonel Morgado, Aberta University, Portugal (PT)
Lucia Pimentel, Federal University of Minas Gerais, Brazil (BR)
Marc Cavazza, University of Kent, United Kingdom (UK)
Maria Potes-Barbas, Instituto Politécnico de Santarém, Portugal (PT)
Mauro Figueiredo, University of Algarve, Portugal (PT)
Mirian Tavares, University of Algarve, Portugal (PT)
Mónica Mendes, University of Lisbon, Portugal (PT)
Né Barros, University of Porto and Balleteatro, Portugal (PT)
Nelson Zagalo, University of Aveiro, Portugal (PT)
Nuno Correia, Nova University of Lisbon, Portugal (PT)
Óscar Mealha, University of Aveiro, Portugal (PT)
Paul Orlov, Imperial College London, United Kingdom (UK)
Penousal Machado, University of Coimbra, Portugal (PT)
Priscila Arantes, Anhembi Morumbi University, Brazil (BR)
Rogéria Eler, Federal University of Goiás, Brazil (BR)
Rosangella Leote, UNESP, Brazil (BR)
Teresa Chambel, University of Lisbon, Portugal (PT)
Artech Steering Committee
Adérito Marcos, Aberta University, Portugal (PT)
Álvaro Barbosa, University of Saint Joseph, Macau (MO)
Christa Sommerer, Linz University of Arts, Austria (AT)
Henrique Silva, Bienal de Cerveira, Portugal (PT)
Lola Dopico, University of Vigo, Spain-Galicia (ES)
Nuno Correia, Nova University of Lisbon, Portugal (PT)
Seamus Ross, University of Toronto, Canada (CA)
Local Organization Committee
Elizabeth Simão Carvalho, Chairman, Aberta University, Portugal (PT)
António Araújo, Vice-chair, Aberta University, Portugal (PT)
Teresa Teixeira, Aberta University, Portugal (PT)
José Coelho, Aberta University, Portugal (PT)
Virgínia Zaidam, Aberta University, Portugal (PT)
Teresa Oliveira, CIAC-UAb, Aberta University, Portugal (PT)
Adriano Viçoso, INESC-TEC, Aberta University, Portugal (PT)
Registration
Fees for full conference attendance, events and printed proceedings:
| Before 14th October 2018 | After 14th October 2018 | |
| Authors | € 150 | € 200 |
| Regular (Non-Authors) | € 200 | € 250 |
| Student (Non-Authors) | € 50 | € 75 |
| Banquet Ticket | € 35 | € 35 |
| Social Event Ticket | € 50 | € 50 |
| Printed Book of Proceedings | € 5 | € 15 |
For every accepted paper or art installation, at least one conference registration fee must be paid by October 8th, 2018, so that the paper (full or short) or art installation proposal can be included in the Conference Program and published in the corresponding proceedings.
Conference registration includes lunch and coffee breaks.
Each accepted publication must be presented at the conference by one of the authors.
To qualify for the student rate you must present a letter from your supervisors,
or present a student ID from your institution, along with the registration.
Registration at the ARTeFACTo 2018 conference will be made
by filling in the Registration Form, together with proof of payment by bank transfer sent to artefacto2018lisbon(at)gmail.com.
Call for Papers and Artworks
The call is now closed.
Thank you to all the authors who submitted their work.
Main Topics
Authors are invited to submit papers and exhibition proposals from all areas related to digital media art/ computer art, with emphasis on artefacts or art installations as well general-purpose interactive computer artworks, for review by an international committee. Descriptions of artistic practices, authorship or co-authorship (narrations of other works), with graphic records (such as images, diagrams, links to dynamic images, drawings, sketches, etc.) are valued. An international publication open to all involved in the creation / visualization / interaction of an artefact.
Topics of interest include (but are not limited to):
| Digital (Transmedia) Storytelling WebArt and Digital Culture Digital Sound and Music (Mobile) Augmented and Immersive Art Digital Dance and Body Poetics Digital Serious Games e-Learning in Art and Media Studies Information and Data Visualization VideoArt and VideoMapping BioArt, NanoArt and xArt Cultures (Tangible) Interfaces |
Gesture Interfaces Spiritual and Sacred Artefacts Transdisciplinary Pragmatic Performance Generative and Algorithmic Art and Design Digital Media, Apps and eBooks Art and Technology Art and Science Theory Creativity Theory Media Art History Technology in Art Education |
Important Dates
Notification to Authors: 2nd October 2018
Final Camera-Ready Submission/Early Registration: 14th October 2018
Early Registration: before 14th October 2018
The International Scientific and Art Committee is composed of experts in various disciplines. The conference program will consist of keynote speakers by eminent specialists, oral presentation of the contributed papers, art installations, videos and posters of the work-in-progress.
Authors of selected papers presented in the conference (including essays describing the best art installations) will be published primarily in the ARTeFACTo Journal (ISSN: 2184-2086) as well invited to submit extended versions to one of the following journals:
- *Journal of Science and Technology of the Arts ISSN: 1646-9798 (http://artes.ucp.pt/citarj) (ISI-WoS Thomson Reuters – ESCI index, Scopus Elsevier and ProQuest)
- International Journal of Creative Interfaces and Computer Graphics. ISSN: 1947-3117 (http://www.igi-global.com/IJCICG) (ACM Database).
- *Revista Comunicar. ISSN:1134-3478 (http://www.revistacomunicar.com/ ) (ISI-WoS Thomson Reuters, Scopus Elsevier)
- International Journal of Education through Art. ISSN: 1743-5234 (http://www.intellectbooks.co.uk/journals/view-Journal,id=121/ ) (Scopus Elsevier)
- *Revista Ibérica de Sistemas e Tecnologias de Informação. ISSN:1646-9895 (http://www.risti.xyz/) (ISI-WoS Thomson Reuters, Scopus Elsevier)
(* journals under negotiation)
Submissions
ARTeFACTo 2018 has the format of a conference with technical sessions, invited talks, discussion panels, and exhibition areas for artefacts and installations. Contributions can be in the form of full papers, short papers and proposals for posters and artefacts exhibitions / art installations.
Authors are invited to submit:
- A full paper of six to ten pages for oral presentation. Artefact descriptions are welcome, embracing part or the overall creation process, from seminal concept, implementation until the final exhibition preparation or the fruition experience analysis;
- A short paper up to four pages for posters or the conceptual and technical information concerningartefact / artinstallations, computer artwork proposals.
SUBMISSIONS THROUGH EASYCHAIR (closed after September 10th).
Submissions are accepted in the conference official languages: English and Portuguese. If your paper or artefact / installation proposal is in Portuguese, please prepare an English version of the title and abstract, as this is required by ACM for publishing in the Digital Library.
ARTeFACTo 2018 uses a double-blind reviewing process. As such, submitted papers / artefacts / installation proposals should not have author and institutional identification in the title and header areas, nor in the body of the paper.
Explicit self-references should be avoided, instead, authors citing their own prior work should discuss it in the third person (“Previous work by <Author> [X1]…” instead of “In our previous work [X1]…”). Authors should also avoid mentioning the names of institutions where the work was done (“participants were recruited from the university campus”, instead of “participants were recruited from the <Institution name>”). Authors should also avoid clear identification marks of their affiliation in figures and supplementary material and remove metadata from submission files.
In addition to the text, made anonymous, for each paper, separate identification info must be provided at Easy Chair (easychair.org/conferences/?conf=artefacto2018), containing:
- Name, organization, mailing and e-mail addresses of each author
- Name of the contact author
- A list of keywords
Template
Submissions must follow the ACM guidelines and template available here: ACM_SigConf.docx
In addition to author keywords, authors must provide a classification for their papers using ACM Computing Classification System (CCS). The classification system is available at http://dl.acm.org/ccs/ccs.cfm. You should examine the CCS thoroughly, but we recommend looking particularly inside the following categories:
- Information systems -> Information systems applications
- Information systems -> Multimedia information systems
- Human-centered computing
- Applied computing -> Arts and humanities
Technical questions regarding the template can be directed at acmtexsupport@aptaracorp.com
Photos, color pictures or graphics must be inserted only in two pages (full paper) or one page (short paper, artefact/installation proposals).
Proceedings
Authors of selected papers presented in the conference (including essays describing the best art installations) will be published primarily in the ARTeFACTo Journal (ISSN: 2184-2086) and also invited to submit extended versions to selected journals.
The Submission of a paper or art installation implies the intention of at least one of the authors to register and attend to the conference in order to perform a spoken presentation. Papers that are accepted and presented at the conference by one of the authors will appear in the conference proceedings. The final version of accepted papers should be submitted with the name of the authors and institutions (there’s no need for a further blind review).
Location
The “ARTeFACTo 2018 – 1 st International Conference on Transdisciplinary
Studies in Arts, Technology and Society” will be held in the Ceia Palace,
headquarters of Aberta University, Lisbon, Portugal.
Ceia Palace
Rua da Escola Politécnica, nº 141-147
1269-001 Lisboa
Portugal
The Aberta University (Portuguese Open University) (UAb) was established in 1988. Aberta University (or Universidade Aberta in Portuguese) is the single public distance education university in Portugal. Due to its purpose, UAb uses comprehensively, in its teaching activities, the most advanced technologies and methods of Distance Learning, without geographical borders or physical barriers, and giving special emphasis to the expansion of the Portuguese language and culture within the Lusophony space (migrant communities and Portuguese speaking countries). In this context, UAb offers higher education anywhere in the world (Undergraduate, Master and Doctorate degrees) and Lifelong Learning study programs. Since 2008 that all programs are taught in e-learning mode, the year that UAb became a European institution of reference in the area of advanced e-learning and online learning through the recognition of its exclusive Virtual Pedagogical Model.
In 2010, UAb has been awarded the Prize EFQUEL by the European Foundation for Quality in E-learning and certified with the UNIQUe Quality Label for the use of ICT in Higher Education (Universities and Institutes). In the same year, UAb was also qualified by an international panel of independent experts as the reference institution for teaching in e-learning system in Portugal. Within the European levels of excellence framework, the European Foundation for Quality Management (EFQM) distinguished UAb with the 1st Level of Excellence Committed to Excellence (C2E) in 2011. In 2016, UAb’s commitment to quality has been recognized again by EFQM that distinguished the University with 4 Stars in the 2nd Level of Excellence Recognized for Excellence (R4E).
UAb is organised into the following academic units: Department of Education and Distance Learning; Department of Humanities; Department of Sciences and Technology; Department of Social Sciences and Management; and Lifelong Learning Unit. The Lifelong Learning Unit provides professional support to all the faculties in running non-degree courses for a wider public as well as in providing services to government departments.