CIAC-UAb - Centro de Investigação em Artes e Comunicação, Polo da Universidade Aberta
Permanent URI for this community
Este grupo de investigação visa a realização de pesquisa tanto ao nível da computação e dos computadores como das tecnologias dos media juntamente com a conceção de experiências estéticas altamente apelativas e envolventes que fundamentem o desenvolvimento de artefactos computacionais criativos e inovadores fortemente interligados com cenários de fruição e uso de cariz artístico, intercultural e socialmente intervencionistas, permitindo compreender e alargar as fronteiras da arte e da tecnologia, da cultura, do entretenimento e da educação e as suas implicações no quotidiano.
Browse
Browsing CIAC-UAb - Centro de Investigação em Artes e Comunicação, Polo da Universidade Aberta by Sustainable Development Goals (SDG) "05:Igualdade de Género"
Now showing 1 - 4 of 4
Results Per Page
Sort Options
- Digital narratives & urban artivist networks: a theoretical-methodological approachPublication . Carvalho, Isabel Cristina; Viegas, Sílvia LeiriaThis article explores the disciplinary and thematic convergences of digital media art, urban life and social activism (in the digital plan), merging into a cohesive exploration of digital narratives and their role in supporting and boosting urban artivist networks. In fact, digital tools provide unique opportunities to broaden the scope and impact of socially-engaged art, primarily through artivist practices, while highlighting and emphasising inspiring existences and positions concerning urban rights and building citizenship. As such, in this exploratory essay, we seek to stress the importance of building counter-narratives from the grassroots based on ways of life, habits, customs and everyday experiences historically overlooked by dominant systems while at the same time building theoretical-methodological framework to deconstruct urban strategies and practices and support different forms of self-representation. We will use two complementary dimensions to build our approach: (1) collecting, interpreting and processing data and (2) giving visibility to the referred alternative narratives. Regarding urban processes and physical spaces, these dimensions follow Lefebvre’s structural thinking on the production of social space and the right to the city, pointing out activist methodologies, e.g. those following principles of social justice, human rights, inclusion and equity, among others giving voice and space to the vulnerable individuals and communities.
- 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.
- Videoarte: identidade de género e territóriona prática da cidadania digitalPublication . Jermias, Sílvia ; Soares, Ana Isabel; Carvalho, Isabel Cristina; Universidade da Madeira (UMa)Este artigo apresenta a relação entre a videoarte, enquanto recurso pedagógico em Média-Arte Digital, na prática de uma cidadania digital, em contexto formal e informal com os mais jovens. A identidade de género e território é apresentada conceptualmente como enquadramento sociocultural para a abordagem artística à videoarte da criação da autora, Somos Todos Mar. A análise da referida videoarte reflete a relação entre a mulher e a infância, a poesia e a calma do mar. Este choque de identidade retrata a relação com o mundo - o mar (industrializado). Enquanto caso de estudo, reflete sobre como a videoarte explora as fronteiras de territórios com a intervenção da mulher. A relação estabelecida com o mar transcende-o enquanto fronteira, produtor de oxigénio; ou seja, enquanto elemento que, cultural e historicamente, sustenta e constrói comunidades. Reforça-se a necessidade de uma transversalidade disciplinar na diversidade de áreas de estudo e nos projetos escolares artísticos, que abordem a igualdade de género, o território e o ambiente, com base no ecofeminismo. Somos Todos Mar contribuiu para a discussão e a reflexão a propósito do território e da relação com a figura feminina, impulsionando a participação cívica e criativa para uma cidadania mais crítica, justa e proativa.