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


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


10:30 Coffee Break and Opening Exhibition – All Artists

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


11:15 Opening Keynote

«Trans» approaches: from myth to realities

Florent Pasquier, Sorbonne University, France

Session chair: Adérito Fernandes-Marcos, Aberta University, Portugal


11:45 Panel Session (short-papers – 15 mins)

Pablo-Martín Córdoba. L’inter-code
Tiago Cruz, Fernando Paulino, Mirian Tavares. CulturalNature Arga#4: Meta-representações da Paisagem
Maria Matos. Gut
Camila Mangueira Soares. Selfie-tracking
Hernando Urrutia. + PROJECTION AC – Contemporary Art Video Artefact Projection in the Public Space

Session chair: Elizabeth Carvalho, Aberta University, Portugal


13:00 Lunch


14:30 Panel Session (full-papers – 20 mins)

Diogo Marques. The Fool, the Sage, the Bard (into the Machine): Knocking Down Ivory Towers through Creative Research
Adriana Nunes, Pedro Martins, Amílcar Cardoso. Video Sonification
Bruno Mendes da Silva, Mirian Tavares. Cadavre Exquis Expanded

Session chair: António Araújo, Aberta University, Portugal


15:30 Keynote Speaker

The Magic Trick of Vanishment: why the term “future” no longer suits a medialab

Heitor Alvelos, University of Porto, Portugal

Session chair: José Bidarra, Aberta University, Portugal


16:00 Coffee Break


16:15 Invitro-Gerador Panel Session (short-papers – 15 mins)

Paulo Teles
Pedro Veiga
Teresa Barradas
wreading digits

Session chair: Bruno Silva, University of Algarve, Portugal


17:30 Brainshops (Brainstorming Workshops)

Session chairs:
Adérito Fernandes-Marcos, Aberta University, Portugal
Jônatas Manzolli
, University of Campinas, Brazil
Priscila Arantes
, Paço das Artes and Anhembi Morumbi University, Brazil

At ARTeFACTo 2018 we will be testing a new ground-breaking concept: the brainshop = BRAINstorming + workSHOP. There will be three co-creative sessions, presided by leading names in the transdisciplinary areas of Art, Technology and Science, where all participants will be invited to take part. The sessions will last for approximately 30-40 minutes and aim at producing as output research and collaboration ideas for projects, performances, artworks, artefacts or future conference tracks. This will be an opportunity for all the participants to creatively engage in profitable discussions, to work with authors, artists and experienced researchers in their areas of expertise, potentially giving birth to new research projects and collaborations.  Conclusions from all three brainshops will be presented before the closing session by their respective leaders.


18:30 Musical Performance

Jônatas Manzolli, University of Campinas, Brazil


19:30 Conference Dinner (separate registration required)


17th of November

LIVE STREAMING – https://videoconf-colibri.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.

Keynote Artist


Ode to Christus Hypercubus

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

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

Prof. Manzolli will be accompanied by singer Beatriz Maia,


and pianist Helena Marinho.


Bio notes

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

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

Keynote Speaker


«Trans» Approaches: from Myth to Realities

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


Bio notes

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

pasquierflorent.wixsite.com/pasquier

Keynote Speaker


The Magic Trick of Vanishment:
why the term “future” no longer suits a medialab

This talk will argue that the creative and cultural fields currently face a lexical paradox: key terms in our core vocabulary have, in recent years, been dislocated towards contexts of efficiency and productivity in opposition with the original intent and impact of those terms. Innovation, creativity, participation, community, sustainability: all point towards a desire for the fulfilment of a vague utopia that would enmesh art and technology in a kind of subjective determinism, tending to both prosperity and emotion.

The term “future” has often been at the forefront of this benevolent and legitimate intent; however, outside of strategic agendas, it has come to congregate and reveal deep insecurities and anxieties, a further paradox where, on one hand, we are invited to subscribe to deterministic technological wonderment, while on the other hand worrying at the volatility and uncertainty of the various impacts of said technology: social, economic, existential, neurological.

For ten years, “FuturePlaces” acted as a festival/medialab operating under the belief that a strengthening of the bonds between technology and contextual use could help dissolve the above dilemmas and paradoxes; we will present various instances where these dilemmas were felt, and discuss how they were addressed. In parallel, we will make a case for the abandonment of the original designation of the festival/medialab, arguing that the term “Future” is currently unable to transcend a paradox of ominous optimism.


Bio Notes

Since 2000, Heitor Alvelos develops audiovisual work with Touch, Cronica Electronica, Ash International and Tapeworm. He is the Ambassador in Portugal of the KREV project since 2001. Projects include Autodigest (since 2002), 3-33.me (since 2012) and Antifluffy (since 2013). Current research interests include the lexical implications of new media, the ecology of perception, and cultural criminology.

Professor of Design and New Media at the University of Porto. Director of the PhD Program in Design (U.Porto / U.Aveiro/ UPTEC / ID+). Director, on behalf of U.Porto, of the Institute for Research in Design, Media and Culture / Unexpected Media Lab. Chair of the Scientific Board (HSS) at the Foundation for Science and Technology (2016-present, member since 2010).

Member of Academia Europaea, Executive Board Member of the European Academy of Design and Advisory Board Member for Digital Communities, Prix Ars Electronica. Former outreach Director of the UTAustin-Portugal Program for Digital Media (2010-2014). Curator, FuturePlaces medialab for citizenship, since 2008.

PhD (Royal College of Art, 2003).
MFA (School of the Art Institute of Chicago, 1992).

www.benevolentanger.org