15/06/2022

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We discuss the (musical) work of art as a complex system in which the result is open and involves non-linear processes and interactions between different agents whose identity as creator, performer and audience is no longer predetermined or fixed. This condition shows its connection with new cosmovision and creative paradigms, marked by a strong conceptual component, which are determining the participation of thought in each of the parts of the process. This explains the need for models as conceptual frameworks and interfaces as tools for real-time interaction. We present as examples: a compositional platform inspired by the biological process of camouflage and another, Autopsies, in which a technological appropriation of the score is proposed. These examples, in turn, allow us to incorporate more considerations on the integration of artistic approaches, making the distinction between different arts (architecture, dance, music, visual arts, etc.) rather artificial, from which the need for a integrative approach.

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The materiality of our existence can become a space of reconstruction by unlocking our daily automatisms and desintoxicating from the power of discourse. A mind guided only by thoughts, inserted in a market society is constantly undermining our sensibility and intuition. We live a sensible life, the way we apprehend the world and become cognisance beings is a matter of the body as a whole, as a living unity. In the present dialogue, I would like to discuss the concept of neurophenomenology by Francisco Varela and share my own inquiries around the ways the enactive approach to cognition can be in constant transformation in the challenging search of experiencing the world from different points of view. Training towards consciousness and what is understood as presence, creating a constant feedback -a relationship- between the sensimotor (memory and imagination as channels and catalysts in resonance with the body) and the world, its forces and the “network of inter-subjective actions and language.”

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We propose a brief presentation of the tuning forks, born in the 18th century as a scientific and musical tool, for its acoustic behavior as a stable oscillator. We will comment on its evolution towards more artistic uses, and our latest reinterpretations (so-called Freezing Forks) which display unusual sonic features as idiophonic directictional self-radiation and even weirder phenomena such as harmonic overtones, proving that even the simplest shape could still hide sonic surprises.

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16/06/2022

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This work is the result of the master's research, "Machines and Emotions in Art" held under the supervision of of Prof. Dr. Rosangella Leote, and within the research group GIIP, IA- Unesp, São Paulo, Brazil. By the machines, the intermediaries of technology emerged, by the emotions, the biological and semantic complexities, created a labyrinth for the development of the theoretical research, but the artistic work brought the flexibility and the vanishing point for the exhibition the "Senhora do Balé", 2019, held in the gallery of the Institute of Arts of Unesp, São Paulo, Brazil. The title of the exhibition is related to Iansã, orixá lady of the winds and storms and who takes care of the disembodied souls. This metaphysical relationship approximated the cemeteries (Balé) of machines with the human relationships with their ancestors (Eguns). Besides Iansã, the orixás are approached in the materiality of the works, with the use of iron, an element of Ogum, orixá of technology. The initial objectives of the proposition were to elaborate an inventory of artistic works that presented machines with an anthropomorphic character, but before arriving at this approximation of the machine as a human form and considering the whole elaborated path, a type of machine stood out, the machine tools, and along with them, human relations with tools. Machines were taken as the pillar for all the relations built that unfolded in the will to deepen in anthropomorphic objects, such as automata and robots, and in the theories about human consciousness, in neuroscience and psychology, because in this way emotions were sought. It was assumed that emotions are imbricated in levels that a machine can develop, in the possible narratives, considering the faculty of design as the link between human creation and the coexistence with technical devices. It is considered then that a machine can indeed be thought of as an artistic object, it can be transformed, be perverted, but it can also be projected for such. To this end, objects that are machines and that are works of art were projected, transforming the theoretical research into an artistic work, into narratives, into poetry, into art, which permeates a daily experience that was reflected in the gallery, populated with objects, machines, and lights. The machines here represent identities for concepts, because they not only represent a concept, but they are also in fact a junction of material and abstraction, of more universal characteristics and personal characteristics, and thus a parallel was created with the Orixás. The Orixás are deities, saints and gods, who relate the forces of nature and human characteristics and are present in the Brazilian religions and myths of African matrices, such as Candomblé and Umbanda. This work is full of paradoxes, because the scientific universe does not allow artistic experiences so easily. In this way, this presentation brings a descriptive memorial of the creation of the works that make up "a Senhora do Balé", 2019, and that make up the theoretical research.

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This work researches a collection of artworks entitled Altered Societies. This production of visual works has been designed and artistically carried out from the thesis research work presented on the factors and elements of social change in digital artistic practices through some keys of artistic integration with the current daily environment. The main objective of this practices is to reflect by sharing new approaches from the artistic system, following a series of experiences carried out internationally in the first person through the current context of Digital Culture. Therefore, this is based on the compilation of audiovisual documentation from these artistic projects already worked on in the field. All this material was organized, edited, and created again, resulting as new moving designs driven to abstractionism. Through these Living Photographs, we address questions about how current art, or digital artistic practices, as forms of knowledge, can contribute to the improvement of social problems of any kind (inequality, unsustainability, injustice, cultural, religious, political, or economic differences, among others) in an effective way. Among the most relevant conclusions, it is highlighted that the dissemination and application of some integrating keys with the public involves the phenomenon of an art more democratic in terms of people's participation and, consequently, they contribute positively to a more real and sustainable social change in the places where they are shared, causing a high impact both individually and collectively. Acknowledgments: This was possible thanks to a grant for artistic creation financed by Junta de Andalucía and Consejería de Cultura.

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Transdisciplinary experimental project of research and attentive listening that aims to cultivate community ecological awareness from sound experiences that involve listening practices, field observation, recording, and composition of a soundscape. This exercise is carried out from the perspective of acoustic ecology and incorporates other dimensions of care and relationship with non-human animals that open possibilities to think critically about the spaces we inhabit and how we are environmental beings.

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Nos encontramos en un momento crucial, "el siglo de la Gran Prueba". Un momento que nos urge generar acciones locales, pero de impacto global para mitigar los efectos del cambio climático y el desequilibrio medioambiental y poder dar paso a la transición a sociedades y futuros mas sostenibles.
Sin embargo, día a día nos damos cuenta de que esto no puede ser posible sin un cambio completo de valores: la diversidad, la simplicidad, la austeridad, la durabilidad y la revalorización de la materia y los comunes humanos y no humanos se vuelven conceptos fundamentales. La crisis ecológica que enfrentamos es una crisis cultural y por ende es una crisis de nuestra imaginación. Por ello, se vuelve urgente poner en marcha nuevas cosmovisiones sobre el mundo y nuestra manera de ser y habitar: la reconstrucción de un nuevo imaginario planetario, acompañado de una nueva espiritualidad terrestre.
Esta era del antropoceno, momento geológico que se instaura en el seno de lo humano, es también una era para repensar lo terrestre, sus materialidades, fenómenos, fuerzas y sobre todo sus vitalidades. En este sentido, esta charla abraza los eco-materialismos, el trabajo comunitario, la imaginación radical, el pensamiento y tecnologías especulativas y sobre todo la indisciplina entre el arte, la ciencia y la tecnología para reescribir nuevas narraciones sobre el mundo, los seres, las cosas y los territorios.

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This research emerges from the expanded experience of two books, which were transformed into an artwork. One exhibition is “Lurid Beauty of Monsters” (Brasília/2019 and São Paulo/2022), freely inspired by the book “The Art of Tim Burton”, which brings together the illustrations of the American filmmaker organized into 12 chapters. In the gallery, each chapter turned into a room. The other exhibition is “Alice’s Adventures” (São Paulo/2022), inspired by Lewis Carroll’s book “Alice’s Adventures in Wonderland”. This one is organized on two floors: the first focuses on information about the character and author and the experiences of Victorian-Era, and Pré-Cinema devices; the second, makes reference to the underground, with expanded cinema artworks and audiovisual installations, with excerpts from almost 50 adaptations of Alice for featured film. In both exhibitions, there are characters that fascinate the public regardless of their age and generation. In this research, we develop the hypothesis that the fascination exerted by Tim Burton's "Misunderstood Monsters", as well as by "Alice's Adventures", lies in the invitation of both art exhibitions to an experience that flirts with the enigmatic, promoting a ludic approach with the unconscious dimensions of reality that remain hidden or denied in our daily lives. In this sense, they both approach to the surrealistics movements as a way of accessing and knowing reality. In this interchangeable relation between the strange and the familiar, reality and the surreal, it is possible to evoke the creative potenciality of those two publications.

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In this talk I will present a few concepts and artworks that relate hacker and open source culture to queer and intersectional activism over the last years, and how they criticize culture, science, art and technology.
Cultural and biopolitical processes like biometric technologies and hormonal therapy are used as artistic platforms by the artists presented in this talk. Also, I will discuss why I think it is more interesting to think in terms of “multiplicity” instead of “diversity”.

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Visualization of mathematics has been boosted in the past few years thanks to the fast development of computational tools which have allowed way faster and more efficient data processing and displaying, which has availed both scientific and artistic practices.
This is the starting premise of the “Laboratory for visualization and sonification” of the Institute of Mathematics at UNAM, where we propose the sound exploration of mathematical objects such as geometric (polyhedra, surfaces, attractors), algebraic (groups, modules), or simply algorithmic (e.g. solving de Hanoi Towers game) structures, whose computational codifications are interpreted and turned into sound.
The development of audible functionalities for the communications of mathematics is thought of as another tool for perception, focused on blind people as well as persons with an “audible mind”. Besides adding to the progress of “sonification” as a scientific, technologic and artistic discipline.
The limitations of our three-dimensional imaginary in our visual world can be extended in the world of sound, especially when working with the spectral content of information, a quality of sound that is perfectly knowable to humans.

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In this presentation I will deploy Nancy Fraser’s theory of the ‘triple movement’ to analyse and re-imagine the node of techno-scientific art practice, paying close attention to the Mexican art context. In current sociological circles, Karl Polanyi’s ‘double movement’ theory has been popularized to explain the global rise of far-right politics: as social forces are commodified by the market (housing, healthcare, etc.), disembedding the economy from society, struggles to re-embed the economy in society emerge. In contemporary settings, this double movement adopts nationalistic, ethnic and/or patriarcal politics (reinforcing institutions like the nation-state, the church, and the nuclear family). While people move away from marketisation, they produce oppressive social protection regimes. To avoid oppressive protection, Fraser argues that such movements should re-embed the economy in the society by taking into consideration a third dimension: emancipation. In the current political stage an anti-pattern can be observed: movements towards emancipation are highly critical of state (oppresive) protection. The market, mimicking the grammar of emancipatory movements, co-opts them while commodifying society. Eventually when the market “crashes”, hurting and upset by what they percieve as the failure of emancipatory movements (but in actuality is the market), people turn towards oppressive forms of institutional social protection. The pattern proposed by Fraser is, on the one hand, recognizing the market’s co-optation power by integrating a Marxist critique of capitalism into emancipatory struggles and, on the other hand, re-embedding the economy into society through emancipatory mobilization. With this framework in mind I will attempt to answer two questions in relationship to current forms of artistic and scientific transdisciplinarity: what is the role of techno-scientific art and its ideologies/philosophies (like ANT, techno-feminism, etc.) in relationship to the ongoing neoliberal global destruction of social security? If we understand transdisciplinarity as a movement, how can we provide an emancipatory mediation between the arts and sciences that prevents the formation of both oppressive institutions as well as market-driven industries? Mexico’s current political moment is marked by a crisis of hegemony, triggered by neoliberal predation and an attempt to re-embed people’s livelihoods under state protection. The art context in Mexico is been re-imagined to fit such a protective attempt. As the political-economy of the arts is been re-centralised, several critical positions emerge from emancipatory movements, like feminism, decolonialism, and, relevant for our conversation, the open-source software movement, free software foundation, and hacker cyber-communities. These politics are bound to the transdisciplinary node of arts and computational sciences. While such communities provide infrastructure and spaces for community building, resisting state-sponsored art-creation spaces and fostering emancipatory mobilization, they remain vulnerable to marketisation. Moreover, the ambiguous political positioning of the open-sourced art practitioners, as well as artists utilising datification, AI, and NFTs, may eventually resolve towards data colonialism, crypto-fascism and technofeudalism. These risks underscore the urgent need to develop the proper analytical tools to make a partition between, on the one hand, artworks driven by marketisation, which devolve into oppresive protection, and, on the other hand, anti-market art practices using technoscientific frameworks while also embracing emancipation.

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17/06/2022

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The concept of the sinister “unheimlich” was coined by Sigmund Freud in his essay The Sinister in 1919 and which, today, keeps giving rise to further studies. Within all the possible terminologies that have been used to define this term, we could clarify some synonyms such as fear, uncertainty, strangeness, rarity, etc., but the term of the sinister offers hues that puts away, in a certain way, this word from any corseting or simple definition. The sinister is a complex phenomenon that occurs on complex and specific occasions. The concept "unheimlich" has a meaning of something that is not familiar, and Freud proposes using this term to define those things that are familiar but can also present a rarity that takes them to the limit of becoming something horrible, or that shows something that should never come out. Artificial Intelligence explores infinite possibilities of artistic applications; Is in the case of realistic images representations that can be produced by machine learning where, on occasions, it is possible to observe how the effect of the sinister is generated. In my work, I go through these issues to talk about the contradictions and imperfection of the human being by itself, using art and artificial intelligence as a medium. The works that I approach for this presentation usually start from the written language itself, where thoughts from emotions materialize with which I then experiment to create the images and sounds of the works with Artificial Intelligence. In this sense, AI offers me possibilities and results that I cannot always control, allowing this to reveal deviations, imperfections and randomness which I work to create synergies between the idea that I want to communicate and the interpretation that the machine makes of itself.

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The evolution of Technology and Science affects to Art and Design and vice-versa. At the same time, the evolution of Fashion is related to them. The goal of this paper is to demonstrate how some cutting-edge fashion designers, in collaboration with artists, technicians and scientists, or under their skills, have changed our relationship with clothing, our bodies, our health, and our way of relating and adapting with our environment. The method used the analysis of some case of studies and self-production implemented at the Artificial Intelligence & Art Pavilion of the University of Luxembourg for Esch-22. European Capital of Culture.

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BIO-e¯lektron by Jaime Lobato and Inês Nêves consists of two performances and one installation driven by electromiography and electrocardiography. This project combines biological data with an artistic interpretation in an immersive experience, following the tradition of data-driven generative art. Enabling access to the secret world of the bodily functions though visual, sonic and haptic outputs, BIO-e¯lektron explores bio-feedback as a creative tool that enhances the artist’s self-awareness in the making process, and generates empathy between artist and audience.

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The project ‘’Entre Derivas’’ (Between Drifts) adresses apeculative design and experiments to think about futures in a brazilian territory, in the Serra da Mantiqueira, São Paulo countryside, in the city São Bento do Sapucaí. The project investigates culturl manifestations, traditions, and seeks ways to value the locality from its own essence. The project conducts an exchange between communities with the proposal ‘’Entre Saberes’’ (between knowledges) with the artisans of the collective ‘’Arte no Quilombo’’, and small producers. From conversations, the desire and need to add value to agricultural waste and the desire to maintain a commitment to sustainability was identified. Thus, the focus of the latest drifts is on the observation and understanding of local production waste, to glimpse solutions or possibilities for applications and uses.
The focus is on listening to what the territory cries out to think about actions and developments. As to rescue traditions by adding value to agricultural waste, recognizing the native seeds of the territory and developing the biomaterial and surface design from the rescue of Creole corn. And create a color chart that presents cultural representation with the identification of possible natural pigments. In this way, drift and technology are supports for the rescue of traditional knowledge and dissemination of the culture and essence of a territory.

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Ancestral African knowledge, such as Arts, Technology, Sciences, Literature, Spirituality and Philosophy, has contributed for stimulating human creative skills and cultural development (Akan et al, 2021; Nascimento, 2016) like the ability of storytelling and writing in diverse forms, such as the Adrinka one (Ipeafro, 2022). However, this ancient knowledge has been used within Eurocentric influence, resulting in low recognition to its ancestral African origin. For instance, Brazilian scholar books have highlighted Greeks’ math and geometry studies and systematization, but have not given the credits to the ancient African sources of such knowledge (Cunha Junior, 2017; Forde, 2017). Nevertheless, history research has showed that Greeks traveled to the region of Kemet, later named Egypt, and acquired scientific, artistic, technological and cultural knowledge (Lopes; Simas, 2020). At that historical time, Egyptians had already used a sophisticated combination encompassing arts, technology, and sciences, as mathematics and geometry (at some extent sacred geometry (Carter, 1998) and its measures, shapes and sizes transformations, and colors knowledge) for designing, building and decorating pyramids and other ancient monuments. This sophisticated combination has been integrated and transformed within Eurocentric scientific, technical, artistic and cultural knowledge developments, supporting the building and evolution of analog and digital technologies, as hardware, software, the Internet, 3D computer graphics and virtual reality which have compound the cyberspace. Due to Web3D based open source technologies enhancements, within a long term, experimental and participatory education artwork, the sophisticated knowledge integration mentioned can and has been acquired and applied within k-12 education levels and beyond, through educative computational practices (Franco, 2020). Within dialogic education processes (Freire, 2011) of direct manipulating and reflecting about information production and visualization technologies, such as web3D-based computer graphics programming languages, during learning and using scientific, artistic and cultural concepts, it has been created three-dimensional (3D) net-artwork compositions, addressing aspects of Afro-Brazilian cultural heritage. This creative process has been an opportunity for experiencing technology and art knowledge combined with African cosmology, in which material and spiritual knowledge complexities are integrated. Principles of cosmic and human existence, dynamically, have been symbolic represented by Orixás or deities’ (Lopes; Simas, 2020) and made part of constructing and sharing Afro-Brazilian cultural heritage and beyond, adding value to the process of implementing Afro-Brazilian and Amerindian cultures’ knowledge at all levels of school curriculum as regulated by the Law 10.639/2003. This research trajectory related to building 3D digital compositions/sculptures (Wands, 2007) started at a primary school environment with the design of a 3D samba museum (Franco, 2020), was enhanced through the pandemic period, during an online course, ‘Projeto Espetáculo em Realidade Aumentada – Augmented Reality Show Project’, at Fábrica de Cultura Diadema’, March to November, 2021. This artwork has extend digital simulation based on virtual reality (VR) features (Chalmers, 2022), as has been applied for building Orixás’ instruments symbolic representations (T’ÒSÚN, 2014). This research and its materialization have been inspired in lifelong education and artistic trajectories of Afro-Brazilians, Rubem Valentim (Mendes Wood DM, 2022) and Abdias do Nascimento (IPEAFRO, 2022). Including an opportunity for reflecting ways of decolonizing curriculum.

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The lack of a good knowledge and risk conscience is pointed as one of the reasons for workers’ unsafe behaviors. Considering this, it is important to improve safety training tools using new technologies and ways of thinking. Games are becoming an important tool for education. Technical features of serious games are directly connected with human desires: reward, status, altruism, self-expression, challenge and others. All these facts lead us to consider serious games as a feasible tool to improve safety education. Other potential instrument which could be used in safety education is Immersive Virtual Reality. Here, the information is totally presented in a 360° environment making possible a great feeling of presence and a body-mind experience. Also, avoids trainees to be exposed to risky situations, the “feeling” of the impact of a bad action, and the construction of a smart and flexible learning environments.
Taking in consideration both serious game and virtual reality potential for safety learning this paper we will analyze the previous works that combine these elements and propose some examples of the application of these technologies

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This research reports and reflects on the experience of the research line GIIP Games in the production and exhibition of interactive playful experiences in virtual reality. The process of building these experiences is collective and goes through several fields of knowledge such as programming, 3D modeling, 2D image creation experience design, digital space architecture, narratives, and virtual experiences. The technology of Virtual Reality technology allows a playful immersion adaptable to the end-user and provokes creators to consider their poetic intentions. From the exhibitions, the empirical method reveals alternatives for the improvement of the public experience, also revealing the process and prepositions about the interaction of the public with unfamiliar technology and the solutions and the unusual solutions and interactions that result from this encounter.

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This research reports and reflects on the experience of the research line GIIP Games in the production and exhibition of interactive playful experiences in virtual reality. The process of building these experiences is collective and goes through several fields of knowledge such as programming, 3D modeling, 2D image creation experience design, digital space architecture, narratives, and virtual experiences. The technology of Virtual Reality technology allows a playful immersion adaptable to the end-user and provokes creators to consider their poetic intentions. From the exhibitions, the empirical method reveals alternatives for the improvement of the public experience, also revealing the process and prepositions about the interaction of the public with unfamiliar technology and the solutions and the unusual solutions and interactions that result from this encounter.

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