CIAC | Comunicações em congressos, conferências e seminários / Communications in congresses, conferences and seminars
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- Feminist reflections on digital media art and urban studies for inclusive citiesPublication . Carvalho, Isabel CristinaThis article critically examines the intersection of digital media art and urban studies through a feminist lens to co-create more inclusive cities. It focuses on the potential of digital art practices to stimulate women's active engagement in the critical analysis of urban space, thereby supporting participatory urban design. It highlights the opportunities offered by digital media art practices and how they can address the challenges women face on a daily basis, empowering them to express, create and collaborate freely. The study underscores how digital media art practices can counteract daily challenges faced by women, enabling them to express themselves, create, and collaborate freely. It stresses the significance of artistic practices that inspire critical spatial thinking, inciting women to recognise, challenge, and query restrictive social norms in public spaces. As the digital gender gap is one of the main obstacles to women's participation in the digital plan, we point out examples that simultaneously develop urban interventions for women's empowerment and promote digital literacy. Collaborative and participatory artistic interventions are highlighted, which develop mappings of urban experiences, often invisibilised, showing the importance of data visualisation by gender. The main theories and practices that emphasise the inclusion of gender perspectives in the configuration of cities and a reflection on digital media art interventions within and in urban space are presented. Digital media art, when integrated into feminist urban studies, shows potentiality for the identification of weaknesses and co-creation of solutions and innovations for contemporary urban challenges.
- Speciesism | Ageism | RacismPublication . Veiga, Pedro Alves daSpeciesism | Ageism | Racism (SAR) is a generative cinematic artwork stemming from the millennia-old practice of mask making and laying claim to the fundamental richness of diversity. SAR generates sequences of masks from photos of people and animals without bias, imbued meaning or particular intent, leaving all interpretations and assumptions to the audience. SAR is aesthetically rooted in traditional folklore and the worldwide popular art of mask-making, in the concepts of “loop” and metric montage. Conceptually, SAR thrives in the intersectionality of postcolonial theory, feminist and anti-discrimination studies, as well as animal rights movements, policies and practices. By stripping away the ability to consistently identify species, age, race, gender or sexual orientation, the artwork allows for a disruptive aesthetic appreciation, which confronts the ideology and politics of group superiority. SAR delivers a participatory, hypnotic, rhythmic and generative audio-visual experience, charged with an anti-discriminatory message countering speciesism, ageism and racism. Speciesism | Ageism | Racism can be enjoyed in its on-line pre-calculated version at https://pedroveiga.com/sar-speciesism-ageism-racism/
- The cinematic selfie: questioning the self through generative artPublication . Veiga, Pedro Alves daThis article addresses and questions the magic-mirror phenomenon, popularised by current smartphone selfie and video capture apps. This phenomenon stimulates the illusion of control over the appearance of the face, either through applying semi-automatic soft filters to highlight the face area, to smooth the skin or correct the posture; or through the use of humorous add-ons or distortions, such as bunny ears or anime features, among others. However these results are short-lived, as their publication in social networks is either ephemeral – as a story – or timed to become invisible or irrelevant – in the timeline stream. Cumulatively they leave little margin (if at all) to stimulate a deeper reflection on the subject of (self) identity, and could thus be reduced to an expression of narcissism and consumption rather than a shared, transformative, meaningful practice. The two generative artworks described in this article, on the other hand, seek to guide the visitor beyond the visual magic-mirror through thought-provoking and reflective processes, where face-based audio-visual trance inducing cycles are used to hint at new identities and possibilities, challenging species, race, gender and age. These artworks seek to immerse the visitor, with narrowed awareness of external surroundings and stimuli, with a deepened focus in a synesthetic experience of flow, aiming at an altered perception of the self. If appearance can act as a tool to communicate one’s identity to others, this article ponders the possibility that such a synesthetic environment can be artivistically used to influence the perception of the self.