Link Symposium Abstracts 2020最新文献

{"title":"Communication Action Zones in Art and Technology - ZACAT","authors":"Camila Dos Santos, Andreia Machado Oliveira, M. Steagall","doi":"10.24135/link2021.v2i1.101","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.101","url":null,"abstract":"Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115088205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Vacancies and Attenuated Presences: A counter-memorial swimming pool for Waitara","authors":"C. Bentley, M. Steagall","doi":"10.24135/link2021.v2i1.163","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.163","url":null,"abstract":"Memorials are witnesses to histories, places and people long past. Their utterances can be felt, and heard, if one is in a place to listen. Memorials are progenitors of these voices, functioning as curious and controversial locative markers. This paper reports on a practice-led inquiry into the memorial swimming pool. It presents these strange and disjunctive spaces as counter-memorials, media for alternative methods of remembrance. The project unfolded across two stages: documentary fieldwork, and a speculative design intervention. The fieldwork consisted of expeditions to three memorial swimming pools found across Te Ika-a Maui, the North Island of New Zealand. These are located in Manutahi, Otorohanga and Clive. Methods of site-specific inhabitation and witnessing, such as drawing and site-recording identify, and accrete the phenomenal language of these sites. This involves particular observation towards presences and absences. The work refers to Michael Taussig in his observations that field recordings such as drawings, exist as ‘more than the result of seeing’. They present opportunities for a different kind of optic. Philosopher and critic Walter Benjamin’s concept of the dialectical optic is explored in how these sites allow us to ‘perceive the everyday as the impenetrable, and the impenetrable as the everyday’. Transient and mundane images were investigated as counter-memorial markers, and as evidence of changing roles, temporalities, and ecologies. Travel, the fieldworker’s approach and temporary inhabitation, is considered as a part of the fieldwork methodology of the project, both in a practical and temporal sense. The fieldwork developed a conversational understanding of place through considering the past, present, and future landscapes we occupy in relation to one another. The speculative design intervention leverages the affectual language developed in the fieldwork to propose a reconfiguration of the Waitara Swimming Pool as a counter-memorial. The work comprises a series of mnemonic provocations detailing loss, vacancy, and the crossing of ritual thresholds. These are explored through a speculative architectural work, which assembles images and functions of the collected fieldwork sites. The images of these surfaces and spaces derive from inhabitation, and activity, rather than detached contemplation. They are lived memorials. The body becomes an essential force within the site, and causes the scheme to function more as a memorial landscape rather than a series of obelisks. This engages more with non-western ideologies of memorial, the individual, and landscape. Philosopher Dr Carl Mika refers to this bond being ‘indivisible’, and that Māori for example; are connected through an ‘imprinting upon the landscape’. Conscious and subconscious movements position the viewer as an active participant rather than a distanced observer. Both the present and the absent body are critical to the formal and thematic composition of each encounter ","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115177229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"New transmedia design for traditional film festivals","authors":"André Fischer","doi":"10.24135/link2021.v2i1.121","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.121","url":null,"abstract":"The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced and consumed. The convergence of media made porous the boundaries between what are conventionally called video, cinema, theater and performance. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. To understand the potential of transformations, the study investigates in depth the experience of MixBrasil Festival, largest LGBTQIA+ cultural event in Latin America, created in 1993, showcasing multiple formats and techniques (cinema, theater, music, literature). With digital content being programmed since 2018, in 2020 it expanded its online exhibition to four different digital platforms. The study is carried out concurrently with the monitoring of MixBrasil and other film festivals held in Brazil, considering what strategies are being adopted and how they will stand out as innovative - or just replications of the traditional movie theater model. It also aims to identify processes, paths and perspectives for the sector considering that the old template for launching films used since the 1950´s might no longer be applicable to the current state of the industry. Facts and trends that are forcing these events to face a crisis of identity and questioning the viability of a (still) prestigious circuit. Platformization implies the adoption of online functionalities integrated at economic and infrastructure levels which fully affects the organization strategies of festivals. Therefore, a change in the way of thinking the place of film festivals in the industry chain is in progress: as a possible space for capturing data from the public to support future curatorships and permanent actions which would make them more dynamic and relevant. Associated with this process is the notion of attention economy and the reorientation of users as active producers of culture, in the way they can affect the hybrid future of festivals. Metrics recurrently used like engagement, geolocation, retention and abandon rates are necessary to identify obstacles and potentialities that the new scenario presents. The research is raising additional questions about the behavior and expectations of different age groups, the motivations ","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129758546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sensorial Design applied to teaching-learning in Artistic Drawing","authors":"Lara D. Balaminutti, Rachel Zuanon, M. Steagall","doi":"10.24135/link2021.v2i1.133","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.133","url":null,"abstract":"The present research focuses on the Sensorial Design approach applied to the teaching-learning of artistic drawing. The Sensorial Design is subsidized by the SEE BEYOND method [LIMA JR. G.C.; ZUANON, R. 2017-2019], which is based on cognitive-behavioral neuroscience and neuroeducation studies to develop and apply didactic-pedagogical and didactic-andragogics resources aimed at teaching and learning of Design by students with and without visual impairment. In this approach, the practice of drawing is understood as an intrinsic element to the mental mechanisms of human beings and acting in their sensorimotor, cognitive and behavioral evolution. This is because through the lines, textures, colors and other compositional elements present in the drawing practice, it is possible to elaborate or express affections and materialize emotions, sensations and thoughts, which are experienced in the mind and experienced in the body as a whole. From this understanding, the approach between the fields of artistic drawing and cognitive-behavioral neuroscience is natural. In the context of higher education, specifically in Visual Arts, the cooperation between the fields of drawing, neuroscience and neuroeducation is shown to be capable of equipping educators with pedagogical practices that contribute to the formation of contemporary artists, especially with regard to the achievement of a poetic-artistic and authorial project expression. The activities carried out from the practical approach of Sensorial Design seek to question the protagonism of vision by sensitizing and enhancing the other senses. In this process, hearing, tasting, smelling, and touching also gain prominence in the formation of mental images, unlike other teaching-learning methods in which this protagonism focuses only on vision. The Sensorial Design approach is developed in the context of higher education in Visual Arts and applied in the Artistic Drawing I and II disciplines, which are part of the Visual Arts undergraduate course’s curriculum at the University of Campinas, since 2019. Through of student’s somatosensory and sensorimotor stimulations, the classes address several thematic axes fundamental to the field of artistic drawing practice, which are at the base of most artistic drawing teaching programs in Brazil for example: line, contour, filling, figure, ground, movement and rhythm. From this global stimulation of the senses, students are encouraged to expand their perceptive limits and their creative processes while expanding their sensory repertoires. Furthermore, the Sensorial Design approach corroborates the rupture of pre-established visual compositional patterns and, consequently, the reach of an authorial poetic-artistic expressiveness. It is important to highlight that in the period prior to the COVID-19 pandemic, all activities carried out with students took place in the face-to-face education context, and the drawing practice happened mostly through analogical instruments and ","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"63 8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114042072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"VRestaurant: challenges and opportunities in developing immersive projects in times of social distance","authors":"Gabriel Cardoso, R. Costa, Ronnie Paskin, R. Spitz, M. Steagall","doi":"10.24135/link2021.v2i1.120","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.120","url":null,"abstract":"VRestaurant is an installation of electronic art, design, gastronomy and multi-sensoriality. Its objective is to explore the potential of virtual reality (VR) to discuss issues related to healthy eating and sustainability. In it, we articulate academic research, linked to the Electronic Art Laboratory at PUC-Rio, with design project development practices, to achieve, through experimentation, an innovative result that contributes to changing people's behavior towards the future of food on the planet. For this, we searched for conceptions of experiences in VR, as well as “teaching-learning” methodologies (ALVES, 2008) in Design. In the methodology we use theoretical, field research, brainstorming and development. We work in a cyclical format, where each step is evaluated and validated. In the conceptual field, we ask: In 2050 will we be able to feed 10 billion people in a healthy and sustainable way to the planet? Humans produce food on a scale that has affected the climate and diverse ecosystems. The conversion of forests to pastures harms the migration of birds and alters the rain and planting periods. The foods produced are often of low nutritional value, which leads to unhealthy diets, causing malnutrition and obesity. Therefore, through awareness, engagement and emotion, we provide participants with a reflection that will stimulate changes in individual behavior, which can generate broader social changes. In the field of Design, we chose VR and its immersiveness, interactivity, multi-sensoriality and sense of presence, to provoke in the user a concrete experience. These areas are capable of producing emotional reactions in human beings. The feeling of experiencing an unfamiliar environment can be a pleasant experience for some and a difficult one for others. However, these sensations added to VR are invariably strong and impactful (SPITZ, 2021). With the restrictions imposed by Sars-Cov-2, the activities were directed to our homes, bringing a reality mediated by screens, which can be exhausting. Immersive technologies make these activities and contact with other people more enjoyable. Interactive possibilities also provide greater collaboration in task development. These potential allies to remote communication were the guiding points of VRestaurant. The development team is multidisciplinary, made up of professors, graduate students, undergraduates, professionals in design, gastronomy, arts, law, architecture, software engineering and cinema. By ensuring that each area is dealt with by those who have expertise, or who show interest in going deeper, even without experience. In our processes, we adapt the universe of VR headsets, through schematic representations, storyboards, videos, animations and text documents, always shared for everyone's analysis and consideration. The result of the process observed in the team is partial, but we conclude that in this multiplicity of profiles, origins and ages, there is a rich exchange of knowledge where s","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128706273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"I am a Creative Loop: Towards Integrative Studios in Design and Creative Technologies","authors":"R. Sosa","doi":"10.24135/link2021.v2i1.153","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.153","url":null,"abstract":"“I am a strange loop” is a thought-provoking statement by polymath Douglas Hofstadter who uses it as the title of his 2007 book to integrate ideas from Philosophy, Neuroscience, Computer Science, and his personal life to analyse concepts of the “I” (self) and consciousness. Standing on the shoulders of this “giant idea” (paraphrasing Newton), I attempt here to examine my work across design and research including my identity as a researcher-designer using the phrase “I am a strange creative loop”. My aim is to trigger reflection and propose a new type of studio pedagogies that bring together theory and practice. This is in response to tensions and opportunities I observe between design and research activities and between theory and practice in design education and design research.To clarify, the “I” in the phrase “I am a strange creative loop” only partially refers to the author -following Hofstadter, my primary intention is to reflect upon everyone who inhabits the worlds of design and research. Therefore, the sentence could have been “All design researchers are strange creative loops”. Thinkers across epistemologies and geo-historical eras have been preoccupied with questions of “Who am I? Who are we?”. I found a similar puzzlement as an undergraduate three decades ago among designers wondering “What is design? Who is a designer?” -a question that continues to spark debates today. I use and extend here the concept of “sentipensante” as used by Orlando Falls Borda to reflect upon my personal experience feel-thinking and creating in design and the rather confusing (strange) “creative loop” that connects the research and design identities in myself and in our graduate students. To make these ideas more concrete, I share two specific recent experiences: one is a lesson learned from my teaching of Creative Technologies at AUT and one from my research work at an after-school maker space in a South Auckland school in Tāmaki Makaurau since 2016. These vignettes illustrate some of the deep chasms that divide design and research activities in modern academia, particularly the divorce between so-called theory and so-called practice. Design schools today have a paradoxical, largely arbitrary, and perverse division between these ways of knowing. I suggest that in design education, what we call theory is not really theory, and in design research what we call practice is not really practice. We have been doing both wrong, largely because of the chasm we have carved between them. I trouble here the ways in which curricula is planned in design education, the pedagogies and the timetabling practices we use, and the discourses among our students and lecturers.I close by adopting a constructive posture to generate concrete ideas for the future of design scholarship. To this end, I elaborate on the notion of “design praxis” to reformulate what studio can be in design: an integrative space where pluriversal ways of knowing can come together in “creative loops” to gen","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128291619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The research context of GIIP - International and Interinstitutional Research Group in Art, Science and Technology","authors":"F. Duarte, Rosangella Leote, Rodrigo Dorta Marques, Rodrigo Rezende, M. Steagall","doi":"10.24135/link2021.v2i1.134","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.134","url":null,"abstract":"The GIIP “Interinstitutional and International Research Group on Art, Science and Technology” was certified at CNPq by UNESP in 2010. It is directed by Rosangella Leote and Fernanda Duarte. We have developed investigation that are allocated in six research lines which are coordinated by Brazilian and foreign researchers. We aim to focus on works of art with emerging media where can be observed transductions, at any level, between the three areas that entitle the group, taking into account the contributions of these different fields, in an interdisciplinary way, but prospecting transdisciplinary emergence. This group is linked to the research line “Artistic processes and procedures” of the Post Graduate Program in Arts, (level 5/CAPES), at the Institute of Arts at UNESP (SP/Brazil); the activities take place within the Laboratory of Art, Science and Technology.The dynamic of the work brings together and leads to masters, doctoral and post-doctoral degrees. The participation of undergraduate and graduate students takes place, both by invitation among peers and voluntary adherence, as well as through the role of research guidance for CIs (PIBIC CNPq/UNESP/FAPESP), masters, doctorates (CAPES, FAPESP or without scholarship) and supervision (with or without scholarship, Brazilians or foreigners) of post-docs and co-tutorships, in addition to technical and monitoring activities (scholarship BAAE I and II - UNESP). GIIP brings together 49 people, including permanent researchers, students, technicians or collaborators. The network comprises researchers in National territory (Public IES), and in international territory (through exchange agreements). The group is continually open to the involvement of new researchers, collaborators or listeners, in its weekly meetings, with part of the team presential and another via the internet. Due to the pandemics, all activities are being carried out online. In addition to artistic activities, our intellectual production involves publications, conferences, seminars, lectures, exhibitions, international exchanges agreements, development of assistive interfaces with intellectual property, transference of technology and patent registration (in process at UNESP).One of the important results obtained has been the development of the “Zonas de Compensação/Compensation Zones” extension project, also international. It is a project that opens our results in research that crosses the edge of the University and reaches the non-academic society.There are other extension activities that are developed by GIIP, which we consider to be very well received. GIIP's original lines of research have been changing over time, a symptom of the evolution of investigation. Today they are Creation in Art and Science; Assistive interfaces for the arts: from diffusion to inclusion; Neuroscience for Art - Art for Neuroscience; Visual and special effects in audiovisual and shows; Poetics of space and time; and Art/Education Methodologies for people wi","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"303 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123668613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Balé Lady: relationships between machines and emotions","authors":"M. Alonso, M. Steagall","doi":"10.24135/link2021.v2i1.138","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.138","url":null,"abstract":"This work is the result of the master's research, \"Machines and Emotions in Art\". By the machines, the intermediaries of technology emerged, by the emotions, the biological and human semantic complexities came up, created a labyrinth for the development of the theoretical research. However, it was only the artistic processes that brought the flexibility to connect the reflections studied in the theories, from such different fields of knowledge, and resulted in the exhibition the \"Senhora do Balé”, 2019. In Brazilian popular culture the Yoruba word \"Balé\" refers to cemeteries and/or the cult of the dead. The title of the exhibition is related to Iansã, orixá lady of the winds and storms and who takes care of the disembodied souls. The Orixás are deities, saints and gods, who relate the forces of nature and human characteristics and are present in the Brazilian religions and myths of African matrices, such as Candomblé and Umbanda. The orixas are the defenders of the minds and have their origins in the Yoruba people, originally from western Africa. Their stories, origins, and myths have many meanings, for being present in different places, families and traditions. Besides Iansã, the orixás are approached in the materiality of the works, with the use of iron, an element of Ogum, orixá of technology. These artworks are a metaphysical relationship which approximated machine graveyards with the human relationships with their ancestors. The initial objectives of the proposition were to elaborate an inventory of artistic works that presented machines with an anthropomorphic character, as in the artistic works of the artist Zaven Parè. but before arriving at this approximation of the machine as a human form and considering the whole elaborated path, a type of machine stood out, the machine tools, and along with them, human relations with tools. and evaluating these tools, their materiality, found in different fields of everyday life, the idea of creating machines was synthesized into elements of tools. In this way, the artworks were proposed as being machines in a metaphorical way. They worked interactively in a direct way or only through the shadows of the interactors, without using large motors or very complex automatic systems. It was assumed that emotions are imbricated in levels that a machine can develop, in the possible narratives, considering the faculty of design as the link between human creation and the coexistence with technical devices. To this end, objects that are machines and that are works of art were projected, transforming the theoretical research into an artistic work, into narratives, into poetry, into art, which permeates a daily experience that was reflected in the gallery, populated with objects, machines, shadows and lights. This work is full of paradoxes, because the scientific universe does not allow artistic experiments so easily. Thus, this presentation brings a descriptive memorial of the creation of the artworks/machines tha","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121038930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Curriculum development and Multimedia Design in the Brazilian Amazon: a case study of a tertiary education degree majoring in multimedia production","authors":"Isis Antunes, M. Steagall","doi":"10.24135/link2021.v2i1.147","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.147","url":null,"abstract":"The undergraduate degree majoring in Multimedia Production Technology at the Federal University of Pará (UFPA) started in 2013, with an yearly intake of 26 students admited through a highly competitive selective process to offer the dreamed free public education in Brazil. The course is located in a sui generis cultural and geographical environment close to the Amazon river and forest. Marajó people lived in the region 3,500 years ago, and they have advanced knowledge in natural medicinal compounds, ceramics and dyes, a culture that remains in Marajoara pottery. Its Pedagogical Project, as it is how it is called the course curricula in Brazilian education, still in force, encompasses components that spread over four semesters, with in-person classes that take place at night. The profile of students are usually youngsters that work during the day and go to the university to study at night, a reality that is common for many Brazilians. The degree is classified a technological tertiary degree prepares students for the industry, fostering them skills and abilities that are focused on the field of Multimedia Design. The curriculum is encompassed by the most fundamental demands of society and its wicked problems, and they aim to produce innovation in all academic instances, including teaching and learning, research, and extension. In this way, the Amazonian environment in which the state of Pará is located, with its geographic, historical, social, cultural, and artistic specificities, naturally impacts the preparation of students' course conclusion works. The course has been through a complete redesign to respond to the technological transformations that technology has advanced in contemporary societies. The course refreshment was conducted by a collegiate group of staff members belonging to the Faculty of Visual Arts, expected to come into force in 2022. This presentation advances four projects in the context of this degree which themes articulating concerns about problems found in Amazon society. The artwork Terra Firme Digital (Morais, Lima & Oliveira, 2016) proposed developing a collaborative platform among the residents of Terra Firme's neighbourhood with the dissemination of extroversion murals of their projects to open a dialogue with everyone involved. The work Jensino (Medeiros, 2019) advanced a proposal for a gamification platform to assist in the learning of the Parkatêjê language for use by the indigenous community, which has been losing that linguistic tradition. The artwork Warao: A Journey of Survival (Alves, Almeida, Santos & Ramos, 2021) presented a documentary about the saga of Venezuelans in search for better life opportunities in, and the work Quilombo Conected: a Visual Identity, by Tayanne Sanches and William Rosa focused on building a visual identity for an ongoing digital training project for the quilombola (people remaining of an ethnic-racial group formed by descendants of runaway enslaveds during the slavery period in the cou","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126370170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sinfonia para a solidão (2019-2021): poetic approach of multisensory processes in the pandemic context","authors":"L. Bergantini, M. Steagall","doi":"10.24135/link2021.v2i1.159","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.159","url":null,"abstract":"“Sinfonia para a Solidão” (Symphony for the Solitude) is a wearable that detects social distance between the wearer and other human bodies, expressing it through tactile and auditory stimuli. Two sensors calculate the distance and presence of individuals nearby. If an approach is detected, the skin of the user is stimulated by the vibration of micro-motors, and sounds are played by a small speaker attached to the wearable. The material that composes the garment is made of tapioca bioplastic with the insertion of cinnamon, turmeric, and dried chamomile tea leaves, adding a layer of smells and textures to the work. “Sinfonia para a Solidão” is an experiment that explores the multisensory perception addressing this topic by considering different social, political, and cultural contexts. The piece aims at discussing the loneliness resulting from the need for social isolation due to the Pandemic triggered by COVID-19. It alerts the approximation of others by emitting audible warnings. At the same time, it comforts the user with vibrations on the skin and with the smell of herbs that alludes to private protected environment and homemade food. It is a symphony of stimuli to address the physical and psychological consequences of social distancing, as well as to warn about the danger of the virus contamination, which occurs mainly through proximity and direct contact among people. The creative process for the concept and design of the wearable occurred in the context of social distancing policies. Therefore, the development of the experiment was highly influenced by the “Do it Yourself” (DIY) culture and information shared by the on-line community. The technical part of the piece was built on the open-source platform Arduino, and the investigation of the tapioca bioplastic was influenced by the recipe shared by Rafaela Blanch Pires and Helena Kussik from AdaLab/UFG (Federal University of Goiás/Brazil). The use of the bioplastic from manioc flour (tapioca) is environmentally friendly, and it also reflects how Brazilian food heritage can influence new media art. The experiment was developed during a PhD research that was focused on the research of Multisensory Processes through the association of art, science, and technology. The main objective of the investigation was to identify the art contributions to the topic. The results suggest that artists can do so by expanding this research into different social, cultural, and political contexts. “Sinfonia para a Solidão” was created within this framework, and it is related to a series of artistic experiments that investigates multisensory perception by developing wearables, such as \"Spiel\", by Peter van Haaften & Michael Montanaro (2019), \"Neoteny\" by Hui Sim Chan (Sim) (2018) and \"SHE BON\" by Sarah Petkus (2018-). The relation between theory and practice was explored by bibliographic survey of the theme on both scientific and artistic contexts, as well as by the analysis of artworks and the development of poeti","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116209014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}