The 2020 edition of ARTeFACTo, Artech International’s 11th organisation of an International Conference,  is focused on Digital Creation in Arts and Communication.

ARTeFACTo 2020 will be held on the 26th and 27th of November 2020 at the University of Algarve campus of Penha, in Faro, Portugal and will be hosted by CIAC, the Research Centre in Arts and Communication.

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

ARTeFACTo 2020 aims at giving greater visibility to artefact creators and researchers, theorists or practitioners, establishing a common space for the discussion and exchange of new experiences, 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 media arts,  communication, culture and education, with specific focus on artefacts and artistic installations to join us.

ARTeFACTo 2020‘s International Scientific and Artistic Committee is composed of experts in various disciplines. The conference program will consist of keynote speakers by eminent specialists, oral presentations (local and remote, via web-conferencing) of the contributed papers, art installations, videos and posters of  work in progress.


Proceedings (click to download

26th of November

(click the titles/links for online sessions)

09:00 Opening Session

  • Algarve University Dean
  • President of Artech-International
  • Director of CIAC
  • Director of ESEC-UAlg
  • International Scientific and Artistic Committee Chairman

9:30 Keynote

Session chair: Bruno Mendes da Silva

Jeffrey Shaw
City University of Hong Kong
Inventing New Media Art
The practices of New Media Art today offer a fecund spectrum of expressions that build worlds and forge experiences based on the radical expansion of the aesthetics of intercommunication. Its galvanic concerns are embodied engagement; prosthetic perception; the mergence of the real and virtual; the re-enactment of cultural heritage; the antipodal bounty and blight of technology; narrative after story-telling; the singularity of art and the pharmacological imperative for its constant re-invention. In his keynote Professor Jeffrey Shaw will elucidate a forty-year art practice that ranges between expanded cinema and virtual reality, showing examples of work that describe the reformulation of narrative as a situation of emergent visualization and interaction. He will also describe recent projects he has been making with Professor Sarah Kenderdine that transform cultural heritage data into compelling narratives of engagement. These works together demonstrate the opportunities for new media art to generate a rich re-imagining of our cultural histories, presents and futures.

10:15 Keynote

Session chair: Adérito Marcos
Piet Kommers

Creative Identity in the Networked Society
As citizens participate in social networks, they experience a continuous challenge to excel in personal manifestation through images, network relationships etc.. This keynote highlights the cultural evolution that will affect the post-Corona period starts. Both Education, Care and Arts suffer from the current lock-downs. Inevitably, students, patients and artists will try to recover from the painful social isolations and new opportunities to start new business models; Virtuality, mobile- and vicarious modes of participation are going to lift off. The question is how citizens are going to manifest themselves on the web. Examples and thought frames will be provided.

11:00 Panel Session #1 (Special Track – Short papers – 10 mins; full papers – 15 mins)

Session chair: António Araújo

  • Filipa de Araújo CristinaA identidade multifacetada e a (des)construção do
    corpo – A dataveillance na génese do meta-data-human e o conceito de
  • Rui TravassoPost-modern Auschwitz: Action or Abstention?Auschwitz do Pós-Moderno: Ação ou Abstenção?
  • Sara Cruz – Pelo Futuro do Passado – Uma instalação que (re)conecta a relação do homem com a natureza.
  • Anastasia Tyurina – South Bank Aesthetics and Visual Ambiguities of Scientific Images
  • Marco Heleno, Miguel Carvalhais, Nuno Correia – Perceptron Explanator: Developing intuition into a perceptron’s decision-making process through explanatory visualization
  • Nádia Moura, Sofia Serra, André Baltazar – Qualitative perspectives on gesture in saxophone performance: two case studies
  • Cassandra Loh, Kiarna Michie, Marcos Mortensen Steagall, Junjira Sanguanrachasab, Casey Strickland, Nolwazi Mpofu, Tatiana Tavares – Te roopu waiora e inclusão na Nova Zelândia. Um projeto de design para uma ONG Māori dedicada a deficientes.

12:45 Lunch break

14:00 Panel Session #2 (full papers – 15 mins)

Session chair: Pedro Calado

  • Maria Fragoso, Ângela Ferreira – A Fotografia híbrida numa era de catástrofes The Hybridism of Photography in a era of catástrofes
  • Hugo Canossa, Rosimária Rocha – Artefactos à Distância;
    A nova media-arte em tempos de pandemia 2020
  • Nívia Barboza Ferreira, Marcos Mortensen Steagall, Sérgio Nesteriuk Gallo –  Interfaces entre o design de games e as ciências do esporte: uma metodologia para desenvolvimento de um simulador de rugby
  • Marcos Mortensen Steagall, Tatiana Tavares – Design Social: Uma experiência educativa da Nova Zelândia
  • Priscila Almeida Cunha Arantes – Estética da Interface: net arte, redes sociais e cultura contemporânea
  • Milton Terumitsu Sogabe – The mutable in the post digital context: in the objects of design and art

16:00 Parallel Panel Session #3.1 (full-papers – 15 mins)

Session chair: Pedro Veiga

  • Marilia Bergamo, Jon McCormack – Poetics of Complexity Intersections between scientific conceptions of Complexity Systems and Cybernetic Art
  • Andréa Catrópa – SONHÁRIO DE PRAGA A manipulação dos algoritmos de busca a partir do desejo
  • Libby Clarke – Collaborative cARTography Playable Cartography in rural
    communities during the COVID-19 Pandemic
  • Luciano Marafon, D. Araujo – Black Mirror: Bandersnatch e USS Callister *
    Interatividade e polifonia intertextual em conteúdos pós-mídia
  • David van Vliet, Marcos Mortensen Steagall – Duregraph Uma pesquisa conduzida pela prática, investigando a duração na imagem fotográfica

16:00 Parallel Panel Session #3.2 (full-papers – 15 mins)

Session chair: Jorge Carrega

  • Matheus Montanari – Algorithmic Landscapes Exploring the algorithmic
    dimension of the landscape through art
  • Joana Lessa – “Masking” emotion – Reflections on face-to-face Communication and speculative design practice in the time of COVID-19
  • Anthony Brooks – Electrorganic ARTefact
  • António Araújo – A GeoGebra Tool for Drawing Immersive Perspectives
  • Rosimária Rocha, Hugo Canossa – Assum Livre: Do ecrã-gaiola para o mundo
    existencial From screen-cage to the existential world
  • Clément Caporal, Cecília de Lima, Rui Antunes – Boidance Software Expanding Dance Using Virtual Reality, Boids and Genetic Algorithms
17:30 Keynote
Session chair: António Costa Valente
Gonzalo Frasca
Universidad ONT
Math, Storytelling and Games: transmedia learning in Nordic schools

For the last 5 years, school students in Finland and Norway have been learning math through a combination of printed textbooks, digital and physical games and storytelling. This talk will analyze the challenges of designing “DragonBox School”, a transmedia learning solution conceived for developing mathematical thinking.


18:30 Social Program (Galeria Trem)

Book presentation and art installation by Pedro Cabral Santo

27th of November
University of Algarve, Penha Campus,
School of Education and Communication (ESEC),
Room UP

Live Stream: 

9:00 Registration and Reception

10:00 Panel Session #4 (full-papers – 15 mins)

Session chair: Ana Soares

  • Pedro Andrade Pessoa – Effect within Viral Society: Viral Sociological Poetry
    using Apps and e-Books Anti-Virus
  • Haroldo Gallo, Filipa O. Antunes, Paulo Ferreira, Marcos Tognon, Heloisa M. Pereira – Resilience in drawing teaching during the covid-19 pandemic: International academic partnerships
  • Hugo de Azevedo, António Araújo – Towards a Canon for Digital Human Anatomy 3D Modeling

11:00Coffee Break

11:15 Panel Session #5 (full-papers – 15 mins)

Session chair: Maria Caeiro

  • Cayetano Jose Cruz Garcia, Francisco F. de Veja, Patricia Hernández, Mario García – Valdez Interpreting emotions in an evolutionary art process∗ Artists’ perception from the inside
  • Selma Pereira, Adérito Marcos – O processo criativo na era pós-digital: uma
    reflexão crítica baseada na prática artística
  • José Domingues – Emotion recognition with Deep Learning: An application to
    Video Games

13:00 Lunch

Lunch and visit to artistic installations (the installations take place throughout the day)

  • Hugo Canossa, Rosimária Rocha Pandemicz Visualz Show (On &) Off
  • Juliana Wexel – Ivagination
  • Paulo Castro e Rui Torres – Tópicos cartesianos atípicos

14:30 Panel Session #7 (short papers – 10 mins)

Session chair: Mirian Tavares

  • Éden Peretta, Daniela Mara, Lucas Rodrigues, Vinícius Amorim, Diego Abegão, Laura Reis, Gabriel Machado, Frederico Amorim, Panmella Ribeiro, Danilo Felisberto – Não alimente os peixes
  • Paulo Alexandre e Castro, Rui Torres – Tópicos cartesianos atípicos. Filosofia
    textual generativa a partir de quatro proposições fundamentais
  • Francisca Rodrigues – Revolução Ou o loop infinito
  • Juliana Wexel – Des-instalação artística a spin-off audiovisual: um registro
    homônimo do artefacto interativo ivagination

15:30 Panel Session #8 (full-papers – 15 mins)

Session chair: Paulo Alves

  • Cibele Saque, António Costa Valente – Desenho e Movimento. Desenvolvimento vegetativo, transformação e animação
  • Paulo Bernardino Bastos – Operacionalidades visuais: a intencionalidade através da imagem e a sua dimensão artística
  • Grécia Falcão – Paisagem e sua construção “prático-sensível” em exibições de arte. Landscape and its “practical-sensitive” construction in art exhibitions
  • Juliana Wexel, Mirian Estela Nogueira Tavares – Curadoria em média-arte digital: Relato sobre ivagination, uma des-instalação interativa em tempos de
    distanciamento social

16:45 Coffee Break

17:00 Closing Session

  • President of Artech-International
  • Local Committee Chairman

18:00 Faro Museum

Guided tour

Keynote Speakers 2020

Gonzalo Frasca is a game designer and scholar internationally recognized for his work in serious games as well as for his pioneering work in ludology and newsgames. He currently works as Chief Evangelist Officer at DragonBox (a Kahoot! company), the Norwegian pedagogical studio behind the award-winning series of math videogames.

For the last 5 years he has worked on the development of DragonBox School, a full-curriculum solution for learning math based on videogames and storytelling. DragonBox School is currently used by tens of thousands of students in Finland, Norway and France. It was recently awarded the eEmeli Award for Best Digital Learning platform in Finland.

As a designer, he has created successful videogames for companies such as Disney, Pixar, Cartoon Network, Lucasfilm and Warner Bros. Dr. Frasca is based in Uruguay where he is Professor of Videogames at Universidad ORT.


Jeffrey Shaw is an Australian visual artist and leading figure in new media art who, since the late 60’s, has pioneered the use of digital media technologies in the fields of virtual and augmented reality, immersive visualization environments, navigable cinematic systems and interactive narrative.

His seminal exploration of new technologies such as computers and interactive interfaces allowed Shaw to introduce new operational and aesthetic dimensions into contemporary art that have profoundly influenced generations of media artists.

Shaw was the founding director of the ZKM Institute for Visual Media Karlsruhe, Germany, from 1991 to 2002. Currently he is Yeung Kin Man Chair Professor of Media Art at City University Hong Kong, Director of the CityU Centre for Applied Computing and Interactive Media.

He is also Visiting Professor at Central Academy of Fine Arts, Beijing, China, Visiting Professor at EPFL, Lausanne, Switzerland and Honorary Professor at the Danube University, Krems, Austria.

During his career, Shaw’s works have been presented at leading public galleries museums including the Stedelijk Museum Amsterdam, Centre Georges Pompidou Paris, Kunsthalle Bern, Guggenheim Museum New York, ZKM Karlsruhe, Hayward Gallery London and Power Station of Art Shanghai.

He has received numerous honours and awards including an Australian Research Council Federation Fellowship; the Immagine Elettronica Prize, Ferrara, Italy; the Oribe Prize, Gifu, Japan and the SAT Lifetime Achievement Award, Montreal, Canada.

In 2015 he was awarded the Prix Ars Electronica for Visionary Pioneers of Media Art, and in 2020 the ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art.


Piet Kommers is an early pioneer in media education and leader of NATO Advanced Research Workshops on Cognitive Learning Tools. UNESCO professor and scientific leader with extensive experience in educational technology and social media.

” … Media proved to be instrumental to emancipation, equity and societal evolution: the smart phone, virtual reality, interactive video, hypermedia, expert systems, modelling and simulations.”

He is a Ph.D. holder in Educational and Media Design, with a Masters degree in Pedagogy and a Bachelor degree in Teacher Education. He received the prestigious academic award for innovative ‘Experimental Design’ and was offered a research position in collaborative group problem solving wherein he designed the ‘Concise Urban Planning Task’.

He has long-term experience at management level coupled with a strategic appreciation and vision, and he is methodical in evaluation and systematic implementation. He has a strong work ethic with a high level of personal integrity (leading by example); able to create trust in teams.


ARTeFACTo 2020  will be held on the 26th and 27th of November 2020 at the University of Algarve campus of Penha, in Faro, Portugal.




Over the decades, the historic Hotel Faro has always been one of the best landmarks in the city, constantly providing pleasant, memorable moments.

Its prime location is both central and close to Faro International Airport and all the other transport networks.

Quality and innovation are the two pillars of its full service, sustained by the efforts of a young, dedicated, professional team that ensures the well-being of Hotel guests, clients of the Ria Formosa Restaurant, or the Cosmopolitan Rooftop Bar, with the best view from Faro towards the Ria Formosa.

Hotel Faro has special prices for ARTeFACTo 2020 attendants:

  • Price per single bedroom, per night: €60,00*
  • Price per double bedroom, per night: €70,00*

* Net prices, breakfast included at the Hotel Restaurant.

For bookings please use or +351 289830830 and make sure to mention the Promo Code Art20020.


General Chair

Mirian Tavares, University of Algarve, Portugal


Honorary Chair

Adérito Marcos, Aberta University, Portugal


International Scientific and Artistic Committee


Bruno Mendes da Silva, University of Algarve, Portugal

Adam Nash, RMIT University, Australia
Adérito Marcos, Aberta University, Portugal
Aleksei Lipovka, Siberian Federal University, Russia
Alicia González-Pérez, University of Extremadura, Spain
Amilcar Cardoso, Universidade de Coimbra, Portugal
Ana Amélia Carvalho, Universidade de Coimbra, Portugal
Anamaria Galeotti, Universidade Anhembi Morumbi, Brazil
Andre Perrotta, CITAR, Portugal
António Lacerda, Universidade do Algarve, Portugal
António Valente, Universidade de Aveiro, Portugal
António Araújo, Universidade Aberta, Portugal
Carla Dias, IPCA, Portugal
Carlos Caires, University of Saint Joseph, Macau (China)
Cecilia De Lima, Universidade de Lisboa, Portugal
Cecilia Suhr, Miami University, United States of America
Cleomar Rocha, Universidade Federal de Goiás, Brazil
Daniela Garcia, Universidade do Algarve, Portugal
David Mould, Carleton University, Canada
Edson Pfutzenreuter, UNICAMP – Universidade Estadual de Campinas, Brazil
Emília Simão, Universidade Católica Portuguesa, Portugal
Eva Oliveira, Polytechnic Institute of Cávado and Ave, Portugal
Fabrizio Augusto Poltronieri, [+zero], Brazil
Gabriela Borges, CIAC, Universidade do Algarve, Portugal
Gavin Perin, University of Technology, Sydney, Australia
Gilbertto Prado, ECA-USP / UAM, Brazil
Haroldo Gallo, UNICAMP – Universidade Estadual de Campinas, Brazil
Heitor Alvelos, University of Porto, Portugal
Joana Pestana, Kingston School of Art, United Kingdom
João Rodrigues, Universidade do Algarve, Portugal
João Cordeiro, Polytechnic Institute of Tomar, Portugal
João Donga, ESMAD, Portugal
João Paulo Queiroz, Universidade de Lisboa, Portugal
Jose Bidarra, Universidade Aberta, Portugal
José Andrade, Universidade Católica Portuguesa, Portugal
José Pereira, Instituto Politécnico de Viseu – ESEV, Portugal
José Alberto Gomes, ESMAE-IPP, Portugal
Leonel Morgado, INESC TEC / Universidade Aberta, Portugal
Lindsay Grace, University of Miami, United States of America
Luis Teixeira, Portuguese Catholic University, Portugal
Luis Gonzaga Magalhaes, University of Minho, Portugal
Marcos Mucheroni, University of São Paulo, Brazil
Marcos Steagall, Auckland University of Technology, New Zealand
Maria Caeiro, University of Algarve, Portugal
Maria Potes-Barbas, Instituto Politécnico de Santarém, Portugal
Masood Masoodian, Aalto University, Finland
Mauro Figueiredo, University of Algarve, Portugal
Miguel Carvalhais, INESC TEC / Universidade do Porto, Portugal
Mirian Tavares, University of Algarve, Portugal
Mirtes Oliveira, Universidade Anhembi Morumbi, Brazil
Nara Cristina Santos, Universidade Federal de Santa Maria, Brazil
Né Barros, Instituto de Filosofia (U.P.)/ESAP/Balleteatro, Portugal
Nuno Correia, Nova University of Lisbon, Portugal
Óscar Mealha, Universidade de Aveiro, Portugal
Paulo Bernardino, University of Aveiro, Portugal
Paulo Ferreira-Lopes, CITAR / Universidade Católica Portuguesa, Portugal
Paulo Veloso Gomes, Polytechnic Institute of Porto, Portugal
Pedro Alves da Veiga, CIAC / Aberta University, Portugal
Pedro Faria, ESTG-IPVC, Portugal
Pedro Correia, CIAC, Portugal
Penousal Machado, University of Coimbra, Portugal
Priscila Arantes, Anhembi Morumbi University, Brazil
Ralf Doerner, RheinMain University of Applied Sciences, Germany
Rodrigo Guzman, City University of HK, Hong Kong (China)
Rosangela Leote, UNESP, Brazil
Rui Penha, INESC TEC / FEUP, Portugal
Selma Pereira, ESART-IPCB, Spain
Sol Alonso, Universidad de Vigo, Spain
Susana Costa, CIAC / Universidade do Algarve, Portugal
Tiago Assis, i2ADS-Faculty of Fine Arts – University of Porto, Portugal
Vítor Sá, Universidade Católica Portuguesa, Portugal


Local Committee


António Costa Valente, University of Algarve, Portugal

Daniela Garcia, University of Algarve, Portugal
Maria Caeiro, University of Algarve, Portugal
Olívia Nova, University of Algarve, Portugal
Paulo Alves, University of Algarve, Portugal
Pedro Calado, University of Algarve, Portugal

Web Chair

Pedro Alves da Veiga, CIAC / Aberta University, Portugal


Publicity and Social Media Chair

Susana Costa, CIAC, Portugal



Beatriz Isca, CIAC, Portugal


ARTeFACTo 2020 is hosted by CIAC (Research Center in Arts and Communication).



Call For Papers

Authors are invited to submit papers and exhibition proposals from all areas related to digital media art, with emphasis on artefacts or art installations as well as general-purpose interactive artworks, which will be reviewed by an international committee.

Descriptions of artistic practices, authorship or co-authorship with graphic records (such as images, diagrams, links to dynamic images, drawings, sketches, etc.) are valued.


Topics of interest include (but are not limited to):

  • Algorithmic Art & Design
  • Art and Technology
  • Art Game
  • Augmented and Immersive Art (including Mobile)
  • BioArt
  • Digital Art and Communication
  • Digital Culture
  • Digital Dance & Body Poetics
  • Digital Media
  • Digital Poetry & Electronic Literature
  • Digital Serious Games
  • Digital Sound & Music
  • Digital Transmedia Storytelling
  • Generative Art
  • Gesture Interfaces
  • Information and Data Visualization
  • Interactive Film
  • NanoArt
  • VideoArt
  • VideoMapping
  • WebArt
  • xArt

The International Scientific and Art Committee is composed of experts in various disciplines. The conference program will consist of keynote sessions by eminent specialists, oral presentation of the contributed papers, art installations and videos of work-in-progress.


Submit here:

ARTeFACTo 2020 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 artefact 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 of the conceptual and technical information concerning artefact / art installations and interactive artwork proposals.

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.

ARTeFACTo 2020 uses a double-blind reviewing process. As such, submitted papers / artefacts / installation proposals should not have any 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 of their affiliation in figures and supplementary material and remove metadata from submission files.

In addition to the anonymized text for each paper, separate identification info must be provided at Easy Chair:

  • Name, organization, country and e-mail addresses of each author
  • Name of the contact author
  • A list of keywords


Submissions deadline: 2nd August 2nd September
Acceptance notice: 20th September
Final version: 4th October


Submissions must follow the ACM guidelines.

The template is available here.

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 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

Photos, color pictures or graphics must be inserted only in two pages (full paper) or one page (short paper, artefact/installation proposals).

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).


Authors of selected papers presented in the conference (including essays describing the best art installations) will be published primarily in the ARTeFACTo Journal and also invited to submit extended versions to other selected journals.

Authors of selected papers presented in the conference (including essays describing the best art installations) will be published primarily in the ART(e)FACT(o) Journal and also invited to submit extended versions the International Journal of Creative Interfaces and Computer Graphics (


Important dates

Submissions deadline: 2nd August 2nd September (new submissions deadline)
Acceptance notice: 20th September
Final version: 4th October

Early bird registration for authors and non-authors (discount): 4th October
Regular author registration deadline: 1st November
Regular non-author registration: 26th and 27th November


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, and will be live streamed:

On the 16th –

Palácio Ceia

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 a 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 and installations to join us.

Conference photo gallery (click here)

Conference Program

16th of November


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

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10:00 Opening Performance – Keynote Artist

Ode to Christus Hypercubus: creative process of a multimodal performance

Jônatas ManzolliUniversity of Campinas, Brazil
Helena Marinho (pianist), University of Aveiro, Portugal
Beatriz Maia (soloist), University of Aveiro, Portugal

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10:30 Coffee Break and Opening Exhibition – All Artists

Session chair: Pedro Alves da Veiga, Aberta University, Portugal

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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

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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

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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

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19:30 Conference Dinner (separate registration required)

17th of November


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

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.

  • 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).

Return to Palácio Ceia.

Teresa Barradas


“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: (

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), (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).