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ARTeFACTo is a transdisciplinary studies journal and conference centered around the concept of digital media and computer artifacts, which were the genesis of its name. It aims to give visibility to all digital media and technology-based artifacts, creators, or contributors from a transdisciplinary, humanistic, and holistic perspective of integration and composition. The main objective is constructing and disseminating knowledge through descriptions of artistic practice, authorship or co-authorship (including the narration and description of other works), and graphic data (images, diagrams, animations, drawings, sketches). The Journal is open to international contributions from all those studying digital media/computer artifacts, embracing their conceptualization, design, creative and research processes, computational implementation, exhibition and fruition, and role in today’s information and knowledge society. Also welcomed are articles fostering the establishment of the conceptual foundations of an artifact theory in the digital media world. Accepted articles shall be original (in compliance with the standards of conduct of the COPE – Code of Conduct and Good Practices) in Portuguese and English, with a mandatory abstract in English. The Conference has the same goals as the Journal but provides a specific floor for the concrete exhibition of artifacts along with their presentation and discussion. All submissions will be evaluated by peer review, including two advisors from the Scientific Council. All feedback will be sent to the authors, indicating their approval, refusal of publication, or requests for correction or recast. The authors will be notified of the publication once the entire selection process has been completed. ARTeFACTo is a joint project between Artech International and Universidade Aberta.
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This article explores the intersection between traditional textile craftsmanship and digital innovation through the Hands series, a project that integrates tangible and virtual artefacts. Grounded in post-digital aesthetics, Hands examines the rematerialisation of textile heritage by combining traditional techniques with immersive technologies such as augmented reality and digital modelling. The project questions the physical and digital dichotomy, proposing new ways of experiencing textile art beyond its material constraints. By incorporating multisensory elements and interactivity, Hands redefines the engagement between spectators and artefacts, expanding the narrative potential of textile traditions in contemporary artistic practice. This study critically analyses how post-digital textile aesthetics can serve as a bridge between preservation and innovation, fostering an enriched sensory experience. The discussion highlights the challenges and opportunities of integrating emerging technologies into artistic processes, reinforcing the relevance of sensory engagement in digital art contexts.
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Toda a obra e pensamento do Padre Manuel Antunes se revestem de características de grande abrangência e de capacidade de abertura à inovação, na perspetiva de que o pensamento crítico, sendo perscrutador do desconhecido, enquanto questiona o conhecimento adquirido ou em pesquisa, não se pode fechar em si mesmo ou separar partes do conhecimento de um todo que constitui o universo, e o homem como parte deste, já que se objetiva a compreensão última do Todo. Encontramos, portanto, traços de transdisciplinaridade na obra e pensamento do Padre Manuel Antunes indicando um pioneirismo relativamente ao movimento da transdisciplinaridade que arranca com o primeiro congresso da área e a respetiva carta daí resultante. Neste artigo, os autores propõem uma análise crítica da obra do Padre Manuel Antunes à luz dos princípios fundacionais encontrados na Carta da Transdisciplinaridade de 1994.
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This essay presents a mapping of the historical concepts that contributed to the emergence of post-digital aesthetics and their connections to the concept of post-media in historical terms. It also analyzes the transition from techno-positivism to discourse of resistance against the effects of the capital technological industrial complex and how these advances in technology influence artistic discourses, practices and are the leverage of art and technology which is nothing more than a representation of the aesthetics of capital. Following art and capitalism as an ideology of innovation. Is proposed an unstinting theory about technology, geology, and the importance of these conditions to the post-digital aesthetics in terms of material disponible and conceptual articulation. Producing a reconfiguration of the post-digital conceptual approach as I propose beyond the dysfunctional aesthetics and connected with the concept of radical ecology centered in the usability of electronic garbage and technical obsolescent technologies in the arts.
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In the face of the Covid-19 pandemic, the fashion industry was surprised and quickly had to adapt to digital media. However, the relationship between fashion and the multiplicity of screens is not new. Fashion emerged and took its first steps with Cinema, in Modernity. Although there are times when these two systems are further apart from each other, the alliance survived. To analyse contemporaneity, we take as main reference the studies of Gilles Lipovetsky, and his reflections on aesthetic capitalism. The fashion system has many Western fields of life, including art and technology. In this article we discuss how this relationship of fashion adapts and develops with aesthetic capitalism and post-digital art while we analyse representative artefacts from/about fashion. We propose to put the recent digital fashion artefacts in dialogue with post-digital aesthetics theories, discussing the blurred boundaries between the digital and the post-digital, and proposing the instantiation of a post-digital creation cycle applied to fashion artefacts.
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