The representation of identity in digital media does not necessarily have to be conceived on the basis of criteria that mimic physical reality. This article presents a model for representing... Show More

The representation of identity in digital media does not necessarily have to be conceived on the basis of criteria that mimic physical reality. This article presents a model for representing individual identity, based on the recording of human experience in the form of personal data, as an alternative to the common forms of mimetic portraiture. As such, the authors developed the project Data Self-Portrait that aims to explore the creative possibilities associated with the concept of data portrait. It can be described as a means of representing and expressing identity through the application of data visualization techniques to the domain of portraiture, according to an exploratory design approach, based on visualizing the digital footprint. It thus seeks to develop design proposals for representing identity that respond to the growing dematerialization of human activities and explores the representational and expressive role of data visualization, according to a creative use of computational technologies.

R Scuti is an audio-visual installation that proposes the transposition of astronomical data into an exhibition environment, using star observation records from AAVSO database. The collected... Show More

R Scuti is an audio-visual installation that proposes the transposition of astronomical data into an exhibition environment, using star observation records from AAVSO database. The collected information, which corresponds to more than a century of observations, were digitally converted to sound patterns that materialize through cymatics on a water surface. This surface receives a light focus, which reflects the moving waves and creates luminous patterns on the room's ceiling. The present text acquaints the concept, creation details, and contextualization of R Scuti in the scenario of poetic data visualization, which took shape in this project from the interdisciplinary dialogue between art, science, and technology.

Virtual reality (VR) has been a prominent idea for exploring new worlds beyond the physical, and in recent decades, it has evolved in many aspects. The notion of immersion and the sense of presence... Show More

Virtual reality (VR) has been a prominent idea for exploring new worlds beyond the physical, and in recent decades, it has evolved in many aspects. The notion of immersion and the sense of presence in VR gained new definitions as technological advances took place. However, even today, we can question whether the degrees of immersion achieved through this technology are profound and felt. A fundamental aspect is the sense of embodiment in the virtual space. To what extent do we feel embodied in virtual environments? In this publication, the authors present works that challenge and question the embodiment sensation in VR, specifically in the artistic aspect. They present initial reflections about embodiment in virtuality and analyze the technologies adopted in creating interactive artworks prepared for galleries and theater stage, questioning the sensations caused by the visual embodiment in virtual reality under the perspective of both the audience and the performer.

During the state of global emergency of the COVID-19 pandemic, online cultural events have multiplied and gained space in our lives. However, this relationship between contemporary art and digital... Show More

During the state of global emergency of the COVID-19 pandemic, online cultural events have multiplied and gained space in our lives. However, this relationship between contemporary art and digital media has been developing for decades. In this paper, the authors cover the curatorial and preparation process for the virtual pavilion The Destinies of Senses that was part of the 4th edition of the digital art biennial The Wrong, which took place from November 2019 to March 2020, bringing to discussion the curation of online exhibitions, aesthetics post-digital, and the creation process of these artists. The authors approach in more detail one of the projects that integrated the exhibition and that combines fashion production, print media, and digital art.

The authors argue that the concept of the anatomical canon is not just an arbitrary standard of anatomical beauty but an indispensable mnemonic tool for the artist. The authors further argue that... Show More

The authors argue that the concept of the anatomical canon is not just an arbitrary standard of anatomical beauty but an indispensable mnemonic tool for the artist. The authors further argue that the canon is most relevant when adapted to a specific artistic process and tools, and in particular must be updated to the requirements of the digital tools of 3D modeling. A proposal of such a canon is discussed, as well as the process of its synthesis from standard 3D primitives and its artistic applications.

This paper presents the artwork “A-Memory Garden” and explores its potential according to the groundworks of the poetics of complexity. In poetics of complexity, there is an artist's desire to... Show More

This paper presents the artwork “A-Memory Garden” and explores its potential according to the groundworks of the poetics of complexity. In poetics of complexity, there is an artist's desire to create perceptions about the relationship between individuals and the result of those interactions to arouse the sense of complexity. The paper presents an overview of the artwork developed, information about its adopted technology, and the artist's intentions. Also, it presents an end-user analysis of the artwork and a discussion of its complexity qualification. This analysis contributes to a perception of the artwork not only through the users' point of view but also for the potential of individual narratives that can emerge by the agency within a complex system. This combination between what is perceived by the user and the narratives of the computational agents in “A-Memory Garden” validates the artwork as a poetics of complexity.

The concept of biomimicry has been used in various fields, from nanotechnology to machine intelligence, for various purposes, inspired by natural processes and organisms. The main application of... Show More

The concept of biomimicry has been used in various fields, from nanotechnology to machine intelligence, for various purposes, inspired by natural processes and organisms. The main application of biomimicry has been to produce artifacts and ideas from what we can know about what nature has already done. Many artists have devoted themselves to the development of works with poetics of hybridization and mimicry. How close would they be to biomimicry? Or would they be bioinspiration? This discussion is the starting point to present the “VIRIDIUM” project, which focuses on the development of semi-autonomous and translucent 3D-printed sculptures. In addition to the biomimicry (biomimetics), bioinspiration, and Darwinian evolution concepts, the concept of artification is also addressed as a possible model of understanding the poetic process, both in "VIRIDIUM" and in the works of the artists listed.

Surrounded by a plant world that seems to reserve a particular space for change and action, the authors highlight the line element, which seems to play, among others, the role of a bridge between... Show More

Surrounded by a plant world that seems to reserve a particular space for change and action, the authors highlight the line element, which seems to play, among others, the role of a bridge between different areas of knowledge. Its structuring and transversal nature implies itself in drawing as a means of aesthetic exploration, branching out its presence in concepts of the synthesis of information, the study of movement, and always in the paths of the word “observation.” Combining visual and perceptive acuity with the power of graphic and formal synthesis of the line, through studies of movement of this involving exploratory space, particular attention is given to lines of support and oscillation of movement through the dynamic progression that models formal development. This reflection seeks to contemplate a potential of the study of the dynamic line to signal observation, understanding of the world (namely from the vegetal development), and its implications in animation cinema.