ORGANISATION

ORGANISATION


HONORARY CHAIR

Adérito Fernandes-Marcos, ARTECH-International / University of Saint Joseph, Macao


GENERAL CHAIRS
Carlos Sena Caires, University of Saint Joseph, Macao
Álvaro Barbosa, University of Saint Joseph, Macao


INTERNATIONAL SCIENTIFIC AND ARTISTIC COMMITTEE

PRESIDENT
Filipa Martins de Abreu, University of Saint Joseph, Macao


LOCAL VICE-PRESIDENTS
Gérald Estadieu, University of Saint Joseph, Macao
Prof. Sandra Olga Ng, University of Saint Joseph, Macao
Li Xiao Dong – Chair of IEEE Macau Section, Macau University of Science and Technology


LOCAL ORGANISATION CHAIRS
Filipa Martins de Abreu, University of Saint Joseph, Macao
Gérald Estadieu, University of Saint Joseph, Macao
Terence Lam, University of Macau


EXHIBITION & COMMUNICATION CHAIRS
Sandra Olga Ng, University of Saint Joseph, Macao
Daniel Filipe Farinha, University of Saint Joseph, Macao


PUBLICITY AND SOCIAL MEDIA CHAIRS
Jerusa Antunes, University of Saint Joseph (USJ) 


ARTECH INTERNATIONAL SOCIAL MEDIA CHAIR
Selma Pereira, 
Instituto Superior Manuel
Teixeira Gomes and CICANT, Lusófona University


WEB CHAIR
Local Organiser – Prof. Filipa Martins de Abreu, University of Saint Joseph, Macao
Artech International – Prof. Pedro Alves da Veiga, Portuguese Open University (PT)


SECRETARIAT
Anabela Wong
, University Secretariat Office, USJ, Macao
Hugo Domingos, University Secretariat Office, USJ, Macao

TECHNICAL SUPERVISOR
Rui Borges, University of Saint Joseph, Macao


PROGRAMME COMMITTEE
TBC

MEMBERS

Adam Nash, RMIT University (AU)
Adérito Fernandes-Marcos, ARTECH-International / University of Saint Joseph, Macao (CN)
Aleksei Lipovka, Siberian Federal University (RU)
Alexandra Cruchinho, Lusófona University (PT)
Alicia González-Pérez, University of Extremadura (ES)
Amilcar Cardoso, University of Coimbra (PT)
Ana Amélia Carvalho, University of Coimbra (PT)
Ana Cláudio Melo, Federal University of Pará (BR)
Ana Veloso, University of Aveiro (PT)
Anamaria Rezende Galeotti, Universidade Anhembi Morumbi (BR)
Andrey Grigoriev, Nosov Magnitogorsk State Technical University (RU)
Andrew Denton, Auckland University of Technology (NZ)
André Baltazar, Catholic University of Portugal (PT)
André Wilson Salgado, Federal Institute of Amazonas (BR)
Andre Perrotta, Catholic University of Portugal (PT)
Antenor Correa, University of Brasília (BR)
Anthony Lewis Brooks, Aalbor University (DK)
Anton Nijholt, University of Twente (NL)
António Araújo, Portuguese Open University (PT) (Vice-President)
António Costa Valente, University of Algarve (PT)
Benjamin Falchuk, Peraton Labs (US)
Bongkeum Jeong, University of Madeira (PT)
Boris Vaitovic, Technical University of Kosic (SK)
Bruno Mendes da Silva, University of Algarve (PT)
Carlos Sena Caires, University of Saint Joseph, Macao (CN)
Cecilia de Lima, University of Lisbon (PT)
Cecilia Suhr, Miami University (USA)
Celso Prudente, Federal University of Mato Grosso (BR)
Cleomar Rocha, Federal University of Goiás (BR)
Cristina Sá, Catholic University of Portugal – Porto (PT)
Daniel Brandão, University of Minho (PT)
David Mould, Carleton University (CA)
Dorotea Souza Bastos, Federal University of the Recôncavo da Bahia (BR)
Diogo Marques, Center for Portuguese Literature, University of Coimbra / wr3ad1ng d1g1t5 collective (PT)
Edson Pfutzenreuter, State University of Campinas (BR)
Eduardo Lima, Federal University of São João del-Rei (BR)
Emília Simão, Portucalense University / Portuguese Catholic University (PT)
Emilio Martinez, Polytechnic University of Valencia (ES)
Fabiana Wielewicki, Federal University of Amazonas (BR)
Fábio Santos de Andrade, Federal University of Rondônia
Fabrizio Augusto Poltronieri, De Montfort University (UK)
Filipe Salles, State University of Campinas (BR)
Gabriela Borges, Federal University of Juiz de Fora (BR)
Gavin Perin, University of Technology, Sydney
Gilbertto Prado, University of São Paulo (BR)
Gilvano Dalagna, University of Aveiro (PT)
Hanspeter Ammann, King Mongkut’s University of Technology Thonburi
Haroldo Gallo, State University of Campinas (BR)
Heitor Alvelos, University of Porto
Helena Barranha, University of Lisbon (PT)
Hosana Celeste, Oliveira, Paulista State University (BR)
Ionat Zurr, University of Western Australia (AU)
Isabel Azevedo, ID+ University of Porto (PT)
Isabel Cristina Carvalho, Portuguese Open University (PT)
Isabel Soveral, University of Aveiro (PT)
Ivan Franco, McGill University (CA)
Joana Pestana, University of Porto (PT)
João Cordeiro, University of West London (UK)
João Paulo Queiroz, University of Lisbon (PT)
Jônatas Manzolli, State University of Campinas (BR)
Jorge Cardoso, University of Coimbra (PT)
Jorge Salgado Correia, University of Aveiro (PT)
José Alberto Gomes, Catholic University of Portugal (PT)
José Gabriel Andrade, University of Minho (PT)
José Bidarra, Portuguese Open University (PT)
José Pereira, Polytechnic Institute of Viseu (PT)
Júlio Borlido Santos, i3s – University of Porto (PT)
Leonel Morgado, Portuguese Open University (PT)
Lindsay Grace, University of Miami (USA)
Lucas Fabian Olivero, Portuguese Open University (PT)
Lucia Pimentel, Federal University of Minas Gerais (BR)
Lucia Santaella, Pontifical Catholic University of São Paulo (BR)
Ludmila Pimentel, Federal University of Bahia (BR)
Luis Teixeira, Catholic University of Portugal (PT)
Luiz Carlos Ferreira , Federal Institute of Amazonas (BR)
Márcio Lobo Netto, University of São Paulo (BR)
Marcos Mortensen Steagall, Auckland University of Technology (NZ)
Marcos Mucheroni, University of São Paulo (BR)
Maria Amélia, Bulhões, Federal University of Rio Grande do Sul
Maria de Lambert, Polytechnic Institute of Porto (PT)
Maria Luiza, Fragoso, Federal University of Rio de Janeiro (BR)
Maria Manuela Lopes, ESE – IPP, I3s- University of Porto and Cultivamos Cultura (PT)
Mário Vairinhos, University of Aveiro (PT)
Marta de Menezes, Cultivamos Cultura (Cultural Association) (PT)
Masood Masoodian, Aalto University (FI)
Milton Sogabe, Anhembi Morumbi University (BR)
Mirian Tavares, University of Algarve (PT)
Mirtes Oliveira, Anhembi Morumbi University (BR)
Monica Tavares, University of São Paulo (BR)
Mónica Mendes, University of Lisbon (PT)
Nara Cristina, Santos, Federal University of Santa Maria (BR)
Né Barros, Balleteatro, ESAD – School of Arts and Design
Nelson Zagalo, University of Aveiro (PT)
Noeli Batista dos Santos, Federal University of Goiás (BR)
Nuno Correia, Nova University of Lisbon (PT)
Nuno Dias, University of Aveiro (PT)
Nuno Martins, Polytechnic Institute of Cávado and Ave
Nuno Do Nascimento Correia, University of Greenwich (UK)
Óscar Mealha, University of Aveiro (PT)
Pau Alsina, Open University of Catalonia (ES)
Paulo Bernardino, University of Aveiro (PT)
Paulo Emílio, University of Pernambuco (BR)
Paulo Teles, State University of Campinas (BR)
Patrícia, Gouveia, University of Lisbon (PT)
Pavel Orlov, London School of Mathematics and Programming (UK)
Pedro Alves da Veiga, Portuguese Open University (PT)
Pedro Andrade, University of Minho (PT)
Pedro Cabral Santo, University of Algarve (PT)
Penousal Machado, University of Coimbra (PT)
Pilar Pérez Autónoma University of Madrid (ES)
Priscila Arantes, Anhembi Morumbi University (BR)
Rachel Zuanon, Anhembi Morumbi University
Ralf Doerner, Rhein-Main University of Applied Sciences (DE)
Rosana Monteiro, Federal University of Goiás (BR)
Rosangella Leote, São Paulo State University (BR)
Rogéria Eler, Federal University of Goiás (BR)
Rogério Almeida, São Paulo University (BR)
Rui António, University of Algarve (PT)
Rui Penha, University of Porto (PT)
Selma Pereira, Polytechnic Institute of Castelo Branco (PT)
Sérgio Eliseu, University of Aveiro (PT)
Sol Alonso Romera, University of Vigo (ES)
Suzana Dias, Polytechnic Institute of Cávado and Ave (PT)
Suzete Venturelli, Anhembi Morumbi University (BR)
Teresa Barradas, Polytechnic Institute of Beja (PT)
Tiago Batista, University of Lisbon (PT)
Tiago Cruz, University Institute of Maia (PT)
Vasco Branco, University of Aveiro (PT)
Victoria Vesna, University of California in Los Angeles – Design Media Arts (USA)
Vítor Sá, Catholic University of Portugal – Braga (PT)
Filipe Pais, École nationale supérieure des arts décoratifs (FR)
Ianis Lallemand, Esad TALM-Le Mans / École nationale supérieure des Arts Décoratifs (FR)
Samuel Bianchini, École nationale supérieure des arts décoratifs (FR)
Gustavo Martins, Universidade Católica Portuguesa (PT)
Daniel Ribas, School of Arts, Catholic University of Portugal (PT)
Koray Tahiroglu, Aalto University, School of Arts, Design and Architecture, Finland (FI)
Paulo Ferreira Lopes, Johannes Gutenberg University of Mainz (G)
Hande Ayanoglu, Universidade Europeia (PT)
Raquel Morais, Faculdade de Belas Artes do Porto (FBAUP), Portugal (PT)
Sheyla Zandonai, University of Macau (MO)
Mei Kei Lai, Macao Polytechnic University (MO)
Carlos Valente, Universidade da Madeira, Funchal (PT)

ART(e)FACT(o) MACAO 2024 is hosted by the Faculty of Arts and Humanities of the University of Saint Joseph, Macao S.A.R. (China).


SPONSORED BY


PARTNER

CONFERENCE MAIN

“Creative Digital Intelligence”

Authors are invited to submit papers and exhibition artwork proposals from all areas related to creative digital art, emphasising artefacts, art installations, and general-purpose interactive artworks, which an international committee will review.

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

The conference will be in hybrid mode and on-site with online participation.

ARTeFACTo2024MACAO conference format with technical sessions, invited talks, discussion panels, and exhibition areas for artefacts and installations. Contributions can be in full papers, short papers and proposals for artefact exhibitions/art installations.

IMPORTANT DATES

IMPORTANT DATES

Papers and Artefacts Submission Deadline
August 20th 2024
September 25th 2024
Extended Deadline – October 25th 2024

Acceptance Notice
November 25th 2024

Final Version
November 25th and 26th 2024

Early Bird Registration (all)
November 25th, 26th and 27th 2024

Author Registration Deadline
November 25th, 26th and 27th 2024

Participant Registration Deadline
December 3rd, 2024

Conference Days
December 5th and 6th, 2024

HYBRID MODE CONFERENCE
Online and Offline Presentations

CALL FOR Papers and Artworks 2024

CALL FOR  ARTWORKS AND PAPERS

“Creative Digital Intelligence”

Authors are invited to submit papers and exhibition artwork proposals from all areas related to creative digital art, emphasising artefacts, art installations, and general-purpose interactive artworks, which an international committee will review.

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

The conference will be in hybrid mode and on-site with online participation.

ARTeFACTo2024MACAO conference format with technical sessions, invited talks, discussion panels, and exhibition areas for artefacts and installations. Contributions can be in 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
    You are welcome to embrace part of the overall creation process, from seminal concept and implementation until the final exhibition preparation or the fruition experience analysis.
  • A short paper of up to four pages of conceptual and technical information concerning artefact/art installations and interactive artwork proposals.
    Remark: All artists can submit a short paper following the same guidelines for a 4-page paper.
  • Abstracts – Oral presentations at the conference sessions will be subject to approval by the scientific committee based on the scientific relevance of the abstract and its alignment with the conference topics. Each author may submit up to two abstracts.— Submissions through the EasyChair submission system.

MAIN TOPICS

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

  • AI-Generated Art
  • Augmented Reality and Immersive Art
  • Art and Technology
  • AI in Music Composition
  • AI and Transhumanism
  • AI and Arts
  • AI and Design
  • AI and Film-making
  • AI and Game Development
  • Algorithmic Art & Design
  • Creative Coding
  • Computational Creativity
  • Digital Art and Communication
  • Digital Culture and Media
  • Digital Sound and Music
  • Digital Transmedia Storytelling
  • Digital Dance & Body Poetics
  • VideoArt and VideoMapping
  • Generative Art
  • Interactive Film
  • Generative Art
  • Information and Data Visualization
  • BioArt, NanoArt and xArt
  • Tangible and Gestures Interfaces
  • Digital Serious Game
  • Virtual Reality and Immersive Experiences
  • Digital Intelligence and Social Impact
  • Digital Intelligence and Identity
  • Media and Information Literacy
  • Ethical Implications of Creative AI
  • Storytelling
  • Digital Narratives

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

IMPORTANT DATES

Papers and Artefacts Submission Deadline
August 20th 2024
September 25th 2024
Extended Deadline – October 25th 2024

Acceptance Notice
November 25th 2024

Final Version
November 25th and 26th 2024

Early Bird Registration (all)
November 25th, 26th and 27th 2024

Author Registration Deadline
November 25th, 26th and 27th 2024

Participant Registration Deadline
December 3rd, 2024

Conference Days
December 5th and 6th, 2024

HYBRID MODE CONFERENCE

ARTeFACTo 2024 MACAO 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 or the body of the paper.

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

TEMPLATE 

Submissions must follow the IEEE guidelines.

Please refer to the following page for more instructions in preparing your article with Microsoft Word / Latex. Click here.

Photos, colour pictures or graphics must be inserted only on 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 the conference to perform a spoken presentation. Papers accepted and presented by one of the authors will appear in the conference proceedings. The final version of accepted papers should be submitted with the names of the authors and institutions (there’s no need for a further blind review).

PROCEEDINGS

Papers will be published as a Book of Proceedings with ISBN / ISSN  and available through the University of Saint Joseph Macao, FAH, Digital Library.
Authors of selected papers presented at the conference (including essays describing the best art installations) will be published primarily as extended versions in the ART(e)FACT(o) Journal (ISSN: 2184-2086):
        • Journal of Science and Technology of the Arts (ISSN: 1646-9798) (http://artes.ucp.pt/citarj) (Web of Science, Scopus).

SUBMISSIONS

To be submitted over easy chair – https://easychair.org

Presentation



EMERGING EXTENDED REALITIES

ARTeFACTo 2022 MACAO will be held on the 24th and 25th of November 2022 at the University of Saint Joseph, in Macau S.A.R. (China) and hosted by the Faculty of Arts and Humanities. 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 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 2022 MACAO 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 a 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 working within the broadly defined areas of digital media arts, communication, culture and education, with a specific focus on artefacts and artistic installations, to join us.

ARTeFACTo 2022 MACAO‘s International Scientific and Artistic Committee comprises experts in various disciplines. The conference program will consist of keynote speakers by eminent specialists, oral presentations (local and remote) of the contributed papers, art installations, videos and posters of work in progress.

Keynote Speakers

KEYNOTE SPEAKERS

Biography

Written by AI assistant: (jassper.ai)
Dr. Lev Manovich is a digital culture theorist, writer, and artist whose work has had a profound impact on the way we think about media and technology today. His books include Cultural AnalyticsAI AestheticsInstagram and Contemporary Image, and The Language of New Media. He has been included in the list of “25 People Shaping the Future of Design” in 2013 and the list of “50 Most Interesting People Building the Future” in 2014. Recognized as one of the most influential voices in contemporary media theory, Dr. Manovich’s work is essential reading for anyone interested in understanding the role of technology in contemporary society.
http://manovich.net

 

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Biography

Samuel Bianchini is an artist and associate professor at the École Nationale Supérieure des Arts Décoratifs—Paris (EnsAD) / PSL University Paris.

Supporting the principle of an “operational aesthetic,” he works on the relationship between the most forward-looking technological “dispositifs”, modes of representation, new forms of aesthetic experiences, and sociopolitical organizations, often in collaboration with scientists and natural science and engineering research laboratories.

His works are regularly shown in Europe and across the world: MAAT (Museum Art Architecture Technology, Lisbon), Zürcher Gallery (New York), Wood Street Galleries (Pittsburgh), Nuit Blanche Toronto, Waterfall Gallery (New York), Medialab Prado (Madrid), Palais de Tokyo (Paris), Kunsthaus PasquArt (Biel), Art Basel, Institut Français of Tokyo, Stuk Art Center (Leuven), Fiac, Centre Georges Pompidou (Paris), Deutsches Hygiene-Museum (Dresden), National Museum of Contemporary Art (Athens), Jeu de Paume (Paris), Laboratoria (Moscow), Thessaloniki Biennale, Centre pour l’Image Contemporaine (Geneva), space_imA and Duck-Won Gallery (Seoul), Museum of Contemporary Art Ateneo de Yucatán (Mexico), ZKM (Karlsruhe), Musée d’Art Moderne de la Ville de Paris, etc…
https://dispotheque.org

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Biography & RESUME

 

Dr. Li Jiaqi, assistant professor, Faculty of Humanities and arts, Macau University of science and technology. Doctor of science, major in information technology. He has been engaged in teaching and scientific research in the direction of digital media for many years. He has published papers in image processing, artificial intelligence, game research and other

directions. He is a participant in the game industry and a deep participant in the ACG field. He is committed to studying independent game culture, game history and culture, Animation culture and other ACG subculture fields.

https://www.must.edu.mo/images/FA/files/LiJiaQi_EN.pdf

Venue

VENUE

ARTeFACTo 2022 MACAO will be held on the 24th and 25th of November 2022 at the University of Saint Joseph, Macao SAR, China.

VENUE | USJ LIBRARY CONFERENCE ROOM

University of Saint Joseph | The most International University in Macao.

CAMPUS VR EXPERIENCE – click here

CONTACT

E-mail: artefacto2022.conf@gmail.com

Organization

ORGANISATION

HONORARY CHAIR

Adérito Fernandes-Marcos, ARTECH-International / University of Saint Joseph, Macao

GENERAL CHAIRS

Carlos Sena Caires, University of Saint Joseph, Macao
Álvaro Barbosa, University of Saint Joseph, Macao

INTERNATIONAL SCIENTIFIC AND ARTISTIC COMMITTEE

PRESIDENT

Gerald Estadieu, University of Saint Joseph, Macao

VICE-PRESIDENT

Filipa Martins de Abreu, University of Saint Joseph, Macao
Filipe Pais, ENSAD, France
Koray Tahiroglu, Aalto University, Finland
Li Jiaqi, Macau University of Science and Technology, Macao

MEMBERS

Adam Nash, RMIT University (AU)
Adérito Fernandes-Marcos, ARTECH-International / University of Saint Joseph, Macao (CN)
Aleksei Lipovka, Siberian Federal University (RU)
Alexandra Cruchinho, Lusófona University (PT)
Alicia González-Pérez, University of Extremadura (ES)
Amilcar Cardoso, University of Coimbra (PT)
Ana Amélia Carvalho, University of Coimbra (PT)
Ana Cláudio Melo, Federal University of Pará (BR)
Ana Veloso, University of Aveiro (PT)
Anamaria Rezende Galeotti, Universidade Anhembi Morumbi (BR)
Andrey Grigoriev, Nosov Magnitogorsk State Technical University (RU)
Andrew Denton, Auckland University of Technology (NZ)
André Baltazar, Catholic University of Portugal (PT)
André Wilson Salgado, Federal Institute of Amazonas (BR)
Andre Perrotta, Catholic University of Portugal (PT)
Antenor Correa, University of Brasília (BR)
Anthony Lewis Brooks, Aalbor University (DK)
Anton Nijholt, University of Twente (NL)
António Araújo, Portuguese Open University (PT) (Vice-President)
António Costa Valente, University of Algarve (PT)
Benjamin Falchuk, Peraton Labs (US)
Bongkeum Jeong, University of Madeira (PT)
Boris Vaitovic, Technical University of Kosic (SK)
Bruno Mendes da Silva, University of Algarve (PT)
Carlos Sena Caires, University of Saint Joseph, Macao (CN)
Cecilia de Lima, University of Lisbon (PT)
Cecilia Suhr, Miami University (USA)
Celso Prudente, Federal University of Mato Grosso (BR)
Cleomar Rocha, Federal University of Goiás (BR)
Cristina Sá, Catholic University of Portugal – Porto (PT)
Daniel Brandão, University of Minho (PT)
David Mould, Carleton University (CA)
Dorotea Souza Bastos, Federal University of the Recôncavo da Bahia (BR)
Diogo Marques, Center for Portuguese Literature, University of Coimbra / wr3ad1ng d1g1t5 collective (PT)
Edson Pfutzenreuter, State University of Campinas (BR)
Eduardo Lima, Federal University of São João del-Rei (BR)
Emília Simão, Portucalense University / Portuguese Catholic University (PT)
Emilio Martinez, Polytechnic University of Valencia (ES)
Fabiana Wielewicki, Federal University of Amazonas (BR)
Fábio Santos de Andrade, Federal University of Rondônia
Fabrizio Augusto Poltronieri, De Montfort University (UK)
Filipe Salles, State University of Campinas (BR)
Gabriela Borges, Federal University of Juiz de Fora (BR)
Gavin Perin, University of Technology, Sydney
Gilbertto Prado, University of São Paulo (BR)
Gilvano Dalagna, University of Aveiro (PT)
Hanspeter Ammann, King Mongkut’s University of Technology Thonburi
Haroldo Gallo, State University of Campinas (BR)
Heitor Alvelos, University of Porto
Helena Barranha, University of Lisbon (PT)
Hosana Celeste, Oliveira, Paulista State University (BR)
Ionat Zurr, University of Western Australia (AU)
Isabel Azevedo, ID+ University of Porto (PT)
Isabel Cristina Carvalho, Portuguese Open University (PT)
Isabel Soveral, University of Aveiro (PT)
Ivan Franco, McGill University (CA)
Joana Pestana, Catholic University of Portugal (PT)
João Cordeiro, University of West London (UK)
João Paulo Queiroz, University of Lisbon (PT)
Jônatas Manzolli, State University of Campinas (BR)
Jorge Cardoso, University of Coimbra (PT)
Jorge Salgado Correia, University of Aveiro (PT)
José Alberto Gomes, Catholic University of Portugal (PT)
José Gabriel Andrade, University of Minho (PT)
José Bidarra, Portuguese Open University (PT)
José Pereira, Polytechnic Institute of Viseu (PT)
Júlio Borlido Santos, i3s – University of Porto (PT)
Leonel Morgado, Portuguese Open University (PT)
Lindsay Grace, University of Miami (USA)
Lucas Fabian Olivero, Portuguese Open University (PT)
Lucia Pimentel, Federal University of Minas Gerais (BR)
Lucia Santaella, Pontifical Catholic University of São Paulo (BR)
Ludmila Pimentel, Federal University of Bahia (BR)
Luis Teixeira, Catholic University of Portugal (PT)
Luiz Carlos Ferreira , Federal Institute of Amazonas (BR)
Márcio Lobo Netto, University of São Paulo (BR)
Marcos Mortensen Steagall, Auckland University of Technology (NZ)
Marcos Mucheroni, University of São Paulo (BR)
Maria Amélia, Bulhões, Federal University of Rio Grande do Sul
Maria de Lambert, Polytechnic Institute of Porto (PT)
Maria Luiza, Fragoso, Federal University of Rio de Janeiro (BR)
Maria Manuela Lopes, ESE – IPP, I3s- University of Porto and Cultivamos Cultura (PT)
Mário Vairinhos, University of Aveiro (PT)
Marta de Menezes, Cultivamos Cultura (Cultural Association) (PT)
Masood Masoodian, Aalto University (FI)
Milton Sogabe, Anhembi Morumbi University (BR)
Mirian Tavares, University of Algarve (PT)
Mirtes Oliveira, Anhembi Morumbi University (BR)
Monica Tavares, University of São Paulo (BR)
Mónica Mendes, University of Lisbon (PT)
Nara Cristina, Santos, Federal University of Santa Maria (BR)
Né Barros, Balleteatro, ESAD – School of Arts and Design
Nelson Zagalo, University of Aveiro (PT)
Noeli Batista dos Santos, Federal University of Goiás (BR)
Nuno Correia, Nova University of Lisbon (PT)
Nuno Dias, University of Aveiro (PT)
Nuno Martins, Polytechnic Institute of Cávado and Ave
Nuno Do Nascimento Correia, University of Greenwich (UK)
Óscar Mealha, University of Aveiro (PT)
Pau Alsina, Open University of Catalonia (ES)
Paulo Bernardino, University of Aveiro (PT)
Paulo Emílio, University of Pernambuco (BR)
Paulo Teles, State University of Campinas (BR)
Patrícia, Gouveia, University of Lisbon (PT)
Pavel Orlov, London School of Mathematics and Programming (UK)
Pedro Alves da Veiga, Portuguese Open University (PT)
Pedro Andrade, University of Minho (PT)
Pedro Cabral Santo, University of Algarve (PT)
Penousal Machado, University of Coimbra (PT)
Pilar Pérez Autónoma University of Madrid (ES)
Priscila Arantes, Anhembi Morumbi University (BR)
Rachel Zuanon, Anhembi Morumbi University
Ralf Doerner, Rhein-Main University of Applied Sciences (DE)
Rosana Monteiro, Federal University of Goiás (BR)
Rosangella Leote, São Paulo State University (BR)
Rogéria Eler, Federal University of Goiás (BR)
Rogério Almeida, São Paulo University (BR)
Rui António, University of Algarve (PT)
Rui Penha, University of Porto (PT)
Selma Pereira, Polytechnic Institute of Castelo Branco (PT)
Sérgio Eliseu, University of Aveiro (PT)
Sol Alonso Romera, University of Vigo (ES)
Suzana Dias, Polytechnic Institute of Cávado and Ave (PT)
Suzete Venturelli, Anhembi Morumbi University (BR)
Teresa Barradas, Polytechnic Institute of Beja (PT)
Tiago Batista, University of Lisbon (PT)
Tiago Cruz, University Institute of Maia (PT)
Vasco Branco, University of Aveiro (PT)
Victoria Vesna, University of California in Los Angeles – Design Media Arts (USA)
Vítor Sá, Catholic University of Portugal – Braga (PT)
Filipe Pais, École nationale supérieure des arts décoratifs (FR)
Ianis Lallemand, Esad TALM-Le Mans / École nationale supérieure des Arts Décoratifs (FR)
Samuel Bianchini, École nationale supérieure des arts décoratifs (FR)
Gustavo Martins, Universidade Católica Portuguesa (PT)
Daniel Ribas, School of Arts, Catholic University of Portugal (PT)
Koray Tahiroglu, Aalto University, School of Arts, Design and Architecture, Finland (FI)
Paulo Ferreira Lopes, Johannes Gutenberg University of Mainz (G)
Hande Ayanoglu, Universidade Europeia (PT)
Raquel Morais, Faculdade de Belas Artes do Porto (FBAUP), Portugal (PT)
Sheyla Zandonai, University of Macau (MO)
Mei Kei Lai, Macao Polytechnic University (MO)
Carlos Valente, Universidade da Madeira, Funchal (PT)

LOCAL ORGANISATION COMMITTEE

ORGANISATION CHAIR

Filipa Martins de Abreu, University of Saint Joseph, Macao

EXHIBITION CHAIR

Daniel Filipe Farinha, University of Saint Joseph, Macao

PUBLICITY AND SOCIAL MEDIA CHAIR

Sandra Ng, University of Saint Joseph, Macao

WEB CHAIR

Pedro Alves da Veiga, Portuguese Open University (PT)

Filipa Simões, WhyDesign, Macao
Filipe Afonso, University of Saint Joseph, Macao
Francisco Vizeu Pinheiro, University of Saint Joseph, Macao
José Manuel Simões, University of Saint Joseph, Macao
João Nuno Brochado, University of Saint Joseph, Macao
Nuno Soares, University of Saint Joseph, Macao

SECRETARIAT

Anabela Wong, University Secretariat Office, USJ, Macao
Hugo Domingos, University Secretariat Office, USJ, Macao

TECHNICAL SUPERVISOR

Rui Borges, University of Saint Joseph, Macao

ART(e)FACT(o) MACAO 2022 is hosted by the Faculty of Arts and Humanities of the University of Saint Joseph, Macao S.A.R. (China).

 

SPONSORED BY

Call for Papers and Artworks

CALL FOR  ARTWORKS AND PAPERS

ARTeFACTo 2022 MACAO has a conference format with technical sessions, invited talks, discussion panels, and exhibition areas for artefacts and installations. Contributions can be in 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 of the overall creation process, from seminal concept, and implementation until the final exhibition preparation or the fruition experience analysis;
  • A short paper of up to four pages of conceptual and technical information concerning artefact/art installations and interactive artwork proposals.

Due to the current pandemic situation and the travel restrictions, the conference will be on a hybrid mode; on-site and online participation are welcome. We are welcoming digital representation of artefacts/art installations to present them in a virtual exhibition if possible.

Submissions are accepted in the conference’s 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 (200 to 500 words).

MAIN TOPICS

Topics of interest include (but are not limited to)

  • Virtual and Mixed Reality
  • Augmented Reality and Immersive Art
  • Art and Technology
  • Digital Art and Communication
  • Digital Culture and Media
  • Digital Sound and Music
  • Digital Transmedia Storytelling
  • Information and Data Visualization
  • Digital Dance & Body Poetics
  • VideoArt and VideoMapping
  • Interactive Film
  • Generative Art
  • Algorithmic Art & Design
  • BioArt, NanoArt and xArt
  • Tangible and Gestures Interfaces
  • Digital Serious Game
  • Art Game
  • Digital Poetry & Electronic Literature

ARTeFACTo 2022 MACAO 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

TEMPLATE

Submissions must follow the IEEE guidelines.

Please refer to the following page for more instructions in preparing your article with Microsoft word / Latex. Click here.
Technical questions regarding the template can be directed to conferencepublishing@ieee.org.

Photos, colour 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 the conference to perform a spoken presentation. Papers 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).

PROCEEDINGS

Papers will be published as a Book of Proceedings with ISBN / ISSN  and available through FAH’s Digital Library. Also, the conference proceedings will be submitted to the international indexing database Scopus and Web Of Science (via IEEE sponsorship).
Authors of selected papers presented at the conference (including essays describing the best art installations) will be published primarily as extended versions in the ART(e)FACT(o) Journal (ISSN: 2184-2086) and also invited to submit extended versions to one of the following journals (under negotiation):
        • Journal of Science and Technology of the Arts (ISSN: 1646-9798) (http://artes.ucp.pt/citarj) (Web of Science, Scopus).
        • *Poetics – Journal of Empirical Research on Culture, the Media and the Arts (ISSN: 0304-422X) (https://www.journals.elsevier.com/poetics) (Scopus)
        • *Revista Comunicar (ISSN:1134-3478) (http://www.revistacomunicar.com/ ) (Web of Science, Scopus)
        • *International Journal of Education through Art (ISSN: 1743-5234) (http://www.intellectbooks.co.uk/journals/view-Journal,id=121/ ) (Web of Science, Scopus)

SUBMISSIONS

Submit here: https://easychair.org/conferences/?conf=artefacto2022

Fees and Registration

FEES

EARLY BIRD
Until 2022-10-31

REGULAR
Starting 2022-11-01

On-site Presentation
For Authors
Online Presentation
For Authors
On-site OR Online
For Participants (Non-Authors)
FREE FREE

REGISTRATION FORM

To register, please fill out the form, and follow the instructions.

https://events.usj.edu.mo/register/ARTEFACTO2022
Registration is mandatory for all participants.

TRAVELLING REMARKS
COVID-19 Measures and Important notes for Tourists Visiting Macao

Macau Tourism Information

https://www.macaotourism.gov.mo/en/article/notice/covid19-notice

Latest epidemic-prevention measures for arrivals at Macao (COVID-19)
https://www.gcs.gov.mo/ncv/annex/index.html?p=0&l=en

Important dates

IMPORTANT DATES

SUBMISSIONS

Submissions Deadline Aug 2nd
(Extended Deadline
31st of August 2022)
Acceptance Notice Sept 30th, 2022
Final Version Oct 14th, 2022

REGISTRATION

Early Bird Registration (all) Oct 14th, 2022
Author Registration Deadline Nov 1st, 2022
Participant Registration Nov 24th, 2022

 

Presentation

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

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

On the 16th –  https://videoconf-colibri.zoom.us/j/845939500

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

LIVE STREAMING – https://videoconf-colibri.zoom.us/j/845939500


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

LIVE STREAMING – https://videoconf-colibri.zoom.us/j/221908645


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.

  • 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

“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.

http://pedroveiga.com

wreading digits


(DES)CONEXÃO 2.0 Disjecta membra

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


Bio notes

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

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

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

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

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