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Aalborg Universitet Electrorganic Artefact Brooks, Anthony Lewis Aalborg Universitet Electrorganic ARTefact Brooks, Anthony Lewis Publication date: 2020 Document Version Publisher's PDF, also known as Version of record Link to publication from Aalborg University Citation for published version (APA): Brooks, A. L. (2020). Electrorganic ARTefact. 171-177. Paper presented at Artefacto, Faro, Portugal. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? 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Downloaded from vbn.aau.dk on: December 26, 2020 PROCEEDINGs EDITOR BRUNO MENDES DA SILVA ORGANISED BY SPONSORED BY SUPPORTED BY PROCEEDINGS OF THE INTERNATIONAL CONFERENCE ON DIGITAL CREATION IN ARTS AND COMMUNICATION, ARTEFACTO2020 PROCEEDINGS EDITOR BRUNO MENDES DA SILVA Proceedings of the International Conference on Digital Creation in Arts and Communication, ARTeFACTo2020 Editor: Bruno Mendes da Silva Published by Centro de Investigação e Comunicação (CIAC) ISBN: 978-989-9023-32-1 ISBN (eBook): 978-989-9023-33-8 Composition, pagination and graphical organization: Juan Manuel Escribano Loza Cover image: Pedro Veiga General coordination: Adérito Fernandes-Marcos and Mirian Tavares Author(s) retain the copyright of the respective article(s). Global publication copyright © 2020 by Artech International Content from this work may be used under the terms of the Creative Commons Attribution-NonCommercial-Share Alike 4.0 International (CC BY-NC-SA 4.0) licence. Any further mechanical, electronic or digital distribution of this work must maintain attribution to the author(s), title of the work, conference proceedings, global copyright holder and must not be intended for commercial purposes. PREFACE It is a great pleasure to welcome you to ARTeFACTo2020, Interna- since the late 60’s, has pioneered the use of digital media technolo- tional Conference on Digital Creation in Arts and Communication, gies in the fields of virtual and augmented reality, immersive visual- held in Faro, Portugal, on November 26 and 27, 2020. ization environments, navigable cinematic systems and interactive The ARTeFACTo2020 conference focuses on new concepts, is- narrative. Piet Kommers is an early pioneer in media education sues, technological trends, techniques and applications in the field and leader of NATO Advanced Research Workshops on Cognitive of Digital Creation in Arts and Communication. First and foremost, Learning Tools. UNESCO professor and scientific leader with exten- it seeks a better understanding of contemporary art, culture and sive experience in educational technology and social media. communication through innovative cultural, academic and profes- The organization of ARTeFACTo2020 is a team effort. We are sional practices. grateful for the efforts made by the members of the local commit- The second edition of the ARTeFACTo International Conference tee and the administrative staff for all the help in setting up the faced an unexpected challenge: the greatest pandemic of the twen- conference. We would also like to extend our gratitude to all the ty-first century. Once overcome the viral vicissitudes, this meeting authors for their contributions, the members of the International is divided into two days, one in person and the other online. The Scientific and Artistic Committee for their invaluable help in the meeting takes place at Escola Superior de Educação e Comunicação peer review process, the keynote speakers, the web chair, the pub- at the University of Algarve, a center dedicated to creation, trans- licity and social media chair, the General Chair and the Honorary mission and dissemination of culture as well as humanistic, artistic, Chair. Everyone was instrumental in achieving the success of the scientific, technological and pedagogical knowledge. event. We are also grateful to the conference sponsors and all other We cannot begin to express our gratitude for the high volume of institutions that supported ARTeFACTo2020, the Arts and Com- contributions. We have received 61 submissions from 12 different munication Research Center, which organized the event, Artech countries (New Zealand, Australia, Indonesia, United Arab Emir- International, which have organized what is now a total of 11 in- ates, Austria, Denmark, France, Spain, Portugal, Brazil, Peru and ternational conferences, and the University of Algarve, namely the Mexico) all of which were peer reviewed by the International Sci- Escola Superior de Educação e Comunicação, which co-organized entific and Artistic Committee. As a result, 51 contributions were the event. All of these institutions deserve our sincere recognition accepted, demonstrating the growing interest of the world commu- for their support throughout this endeavor. Finally, we must show nity in this young series of ARTeFACTo conferences. As guests, we our appreciation to the Foundation for Science and Technology for have three highly acclaimed speakers from academic, artistic and financing the event. industrial backgrounds. Based in Uruguay, where he is Professor of Videogames at Universidad ORT, Gonzalo Frasca is a game de- Welcome to ARTeFACTo2020! signer and scholar internationally recognized for his work in seri- ous games as well as for his pioneering work in ludology and news- Bruno Mendes da Silva games. Professor at City University of Hong Kong, Jeffrey Shaw is President of the International Scientific and Artistic Committee an Australian visual artist and leading figure in new media art who, INTRODUCTION “We are cups, constantly and quietly being filled. of distrust, such as photography or cinema did in their own time. The trick is, knowing how to tip ourselves over and let the It was necessary for artists to take the lead, to experiment with the beautiful stuff out.” new media and to disrupt the logic of functional and functionalist ― Ray Bradbury discourse, inherent to machines. In the same way that contempo- rary arts have expanded in the most varied directions, in contem- The ARTeFACTo International Conference arises from the concur- porary times, the arts that use technologies as a tool, medium or de- rence of wills between two parties – Artech International and CIAC – vice for their creations, assume different forms, more or less virtual, of creating an international event that brought together not only more or less interactive, but always with the intention of provoking the most current reflections on the universe ofnew media art, but in the spectator a reaction that encourages him to think about him- also the objects of study. Art made from digital resources or from self, about his body and his role in the world that quickly trans- the junction with new technologies has taken many different names forms, expands and contracts, a world that dissolves into bits and and formats over the past 50 years. In 1992, Anne Cauquelin com- algorithms. ARTeFACTo2020 brings us a series of experiences from pleted her book Contemporary Art – An introduction, where she pre- and in the arts field, as well as a set of reflections on artistic work sented the reader with a new possible form of art – Technological pierced by machines. The Latin wordartefactu , which meant ‘made Art. When we think that the relationship between art and technolo- with art’ and which later acquired the meaning of ‘something pro- gy started in 1952, with an electronic music concert held at MOMA, duced mechanically’, implies in itself the idea of a fusion between a and that in the 60s we witness remarkable events which contributed hand and an abstraction, a hand that acts on the materials and that to the consolidation of this relationship, it seems rather strange that articulates concepts and shapes. And it is on this action and on the we are being “introduced” a new form of art only in 1992. Indeed, discussion it generates that ARTeFACTo2020 lies its focus. This in the relationship between the arts and technologies has developed a time when, more than ever, we need to rethink the relationships somewhat outside the official history of the arts, through festivals we establish with technology and the role it plays in our everyday such as Ars Eletronica and the emergence of specific galleries and/ lives, mediated by the thousands of screens that surround us. or museums, back in the 80s. In general, that relationship, as fruitful as it has been and continues to be, has generated a certain amount Mirian Tavares General Chair ARTEFACTO2020 ORGANISATION GENERAL CHAIR Mirian Tavares, University of Algarve, Portugal HONORARY CHAIR Adérito Fernandes-Marcos, Aberta University / Artech-International, Portugal INTERNATIONAL SCIENTIFIC AND ARTISTIC COMMITTEE PRESIDENT Bruno Mendes da Silva, University of Algarve, Portugal Adam Nash, RMIT University, Australia José Alberto Gomes, ESMAE-IPP, Portugal Adérito Fernandes-Marcos, Aberta University / Artech-Interna- Leonel Morgado, INESC TEC / Universidade Aberta, Portugal
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