REGISTRARION 2023
COMMUNICATION REGISTRATION
COMMUNICATION SUBMISSION
UNTIL 04/02/2023
ARTISTIC PROPOSAL SUBMISSION
UNTIL 04/02/2023
ARTISTIC RESIDENCY PROPOSAL SUBMISSION
UNTIL 04/02/2023
WGX - CRISES PRESENTATION VIDEO SUBMISSION
UNTIL 04/24/2023
FULL WORK SUBMISSION
UNTIL 05/29/2023
COMMUNICATION SUBMISSION
UNTIL 04/02/2023
ARTISTIC PROPOSAL SUBMISSION
UNTIL 04/02/2023
ARTISTIC RESIDENCY PROPOSAL SUBMISSION
UNTIL 04/02/2023
WGX - CRISES PRESENTATION VIDEO SUBMISSION
UNTIL 04/24/2023
FULL WORK SUBMISSION
UNTIL 05/29/2023
REGULATION
| FULL PAPER TEMPLATE CIACT-SAD 08 |
The approved works for presentation will be announced by April 15th, 2023.
Each author/co-author may submit up to 2 works, and the official languages of the event are Portuguese and English.
Undergraduate students may only submit work in co-authorship with a first author who is a master's, doctoral or post-doctoral student.
The communication abstract must be submitted via Google Forms, using the provided abstract template and correctly filling out all questions in the form and selecting the suggested Working Group.
The Working Groups for the 2023 edition of the congress, where the communications should fit, are:
WG 1 - Ludic Universe (in loco)
Coordination: Prof. Dr. Pablo Gobira (UEMG) and Profa. Dra. Lynn Alves (UFBA)
The Ludic Universe Working Group aims to discuss the different investigative and developmental possibilities of digital games, highlighting contemporary issues that challenge these technological devices, such as player data protection, especially for children and teenagers, as well as the configuration of metaverses that are being consolidated in gaming environments such as Fortnite, Roblox, Minecraft, among others. Another relevant point for the WG discussions relates to creating NFTs in games (using blockchain networks), allowing for interoperability between these narrative universes while further stimulating production and consumption. Therefore, proposals that dialogue with these points are welcome to the WG, further strengthening digital games as an investigative object and cultural product.
WG 2 - Image, Editing and Technopoetics (in loco)
Coordination: Prof. Dr. Rogério Barbosa da Silva (CEFET-MG) and Profa. Dra. Amanda Rafaela Gomes Martins (CEFET-MG)
This Working Group explores thinking about Interartistic Relations, Editing Technologies, Technological Education, and Digital Technologies. It seeks to discuss works that deal with static or kinetic images about mechanical (19th century), electronic, and digital (20th and 21st centuries) technologies, as well as the close dialogue between education, editing, electronic poetry, digital literature with technology and its relations with the poetics that permeate it.
WG 3 - Fluid perspectives of cities (in loco)
Coordination: Prof. Dr. Renata Baracho Porto (UFMG)
Fluid, digital, virtual, and intelligent views permeate the use of technologies, contemporary media, their interactions, and applications. This Working Group permeates different areas of knowledge with interdisciplinary proposals beyond the boundaries of architecture, arts, tangible and intangible heritage, museology, urbanism, and collections.
WG 4 - Art, Media, and Digital Technologies (in loco)
Coordination: Marina Bortoluz Polidoro (UFRGS), Alessandra Lucia Bochio (UFRGS), Bettina Rupp (UFRN) and Larissa Macêdo (Centro Universitário Belas Artes)
This Working Group welcomes proposals that discuss the relationships between art, media, and digital technologies. We understand that the presence of new media/media means/ edia in artistic processes is already entirely aturalized and disseminated. Therefore, the rrent moment does not allow for naive uses of digital technologies. Instead, artists use media n how it is programmed to act by combining, ubverting, and reinterpreting them. In this direction, we seek communications that can ontribute different points of view as long as they are linked to artistic practices. We highlight aspects such as experiences with information and communication technologies in artistic creation, translations and transfers between media; poetic and creative processes that explore media errors and transmission noise, alternatives to the traditional circulation of art by using media; critical implications in using digital technologies in art.
WG 5 - Interface design for real problems (in loco)
Coordination: Débora Aita Gasparetto (UFSM) and João Vilnei de Oliveira Filho (UFC)
Interface design as problem-solving is the guiding thread of this Working Group, which aims to work on the relationship between Humans and Non-Humans (from machines to agents of nature). The proposal is to discuss disruptive practices that use technology, interface design, usability, accessibility, UX Design (User Experience), and interface design methodologies to (re)construct the social, taking into account other species, other means and agents, connecting machines | humans | nature and effectively proposing solutions for real problems, crises, conflicts, policies, and disconnections. The Working Group is interdisciplinary, following the interdisciplinary logic of the interface area.
WG 6 - Ecotechnological narratives of bodies (in loco)
Coordinators: Breno Tenório Ramalho de Abreu (UnB) and Thatiane Mendes Duque (UEMG)
We are living in a moment of crises, environmental and humanitarian. Therefore, it is urgent that we seek other perspectives, whether through our relationship with machines, plants, or other living beings in symbiosis. Narratives that can present us with more sustainable ways of life, in collaboration with remote or current technologies, that traverse the body and space. Cultures that intertwine with sound, theatrical, performance, design, and fashion poetics. Thus, this working group seeks to discuss crises of the human body about its environment, whether through biomaterials, wearable technologies, textiles and intelligent jewelry, gadgets, artificial intelligence and the Internet of things, and any other innovations demonstrating these different perspectives. In this way, it seeks to understand how these technologies alter and allow themselves to be changed by contact with the body or the body with space, mediating behaviors, physical, digital, and social modifications and interactions as aesthetic, practical, or symbolic experiences, individually and collectively.
WG 7 - Materialities and circulations of the book (in loco)
Coordination: Ana Elisa Ribeiro (CEFET-MG), Marcos Roberto do Nascimento (PUC Minas), and Pollyanna de Mattos Vecchio (CEFET-MG)
In this group, we accept works that discuss the materialities and circulations of the book, past and present, with their implications for the future. Reflections on the technology of the book, its dynamics, changes and continuities, and the impacts that the book, in all its forms, can have on reading, editorial production, authorship, the economy, and interactions, in general, are admitted. Screens and sheets, paper and pixel, atypical or rare forms, every book object and research about it have a place in this GT, which aims to bring together researchers from areas such as Literature, Social Communication, Sociology, History, Fine Arts, Design, and other related fields. Our proposal is a debate that addresses both theoretical and practical aspects related to the book, its consumption, and its production. In other words, works can derive from academic research, laboratory practices, experimentation, and various technological professional methods.
WG 8 - Images of rupture in narratives (in loco)
Coordination: Paulo Roberto Barreto Caetano (UNIMONTES)
The iconography as a practice of rupture is the theme of this GT. This disruptive character would occur in two ways: in terms of form, such as in Peter Greenaway’s The Pillow Book (1996), which anticipated the coexistence of screens that would dominate the Internet, expected the nonlinear reading of hypertexts; in terms of reception, such as the Benjaminian reading of technical reproducibility, breaking the tradition of the cult value in its individuality and sacred spatiality. It is also worth mentioning the transition from a less discursive to a more imagistic horizon, in Seligmann-Silva’s expression addresses the pictorial turn (a crisis, in the sense of “change”). Thus, the GT invites communications on visual metaphors of technology; new statutes of the image on the Internet (memes overlapping with cartoons, NFTs materializing new financial exchanges); and multi-semiotic narratives in which the image complexifies the word; on biopolitical gaze dominating relationships and visual culture.
WGX - CRISES (in loco and online)
Coordination: Pablo Gobira (UEMG/UFMG)
Working Group X: CRISES will be the only one with remote/online sessions. It welcomes research by master’s and doctoral students and graduates who study the relationships between art, science, and technology (digital arts) and directly or indirectly address the theme of this edition of the event. The submission rules for this group are similar to others, but the presentation mode, if approved, will be different as it will be online.
Each author/co-author may submit up to 2 works, and the official languages of the event are Portuguese and English.
Undergraduate students may only submit work in co-authorship with a first author who is a master's, doctoral or post-doctoral student.
The communication abstract must be submitted via Google Forms, using the provided abstract template and correctly filling out all questions in the form and selecting the suggested Working Group.
The Working Groups for the 2023 edition of the congress, where the communications should fit, are:
WG 1 - Ludic Universe (in loco)
Coordination: Prof. Dr. Pablo Gobira (UEMG) and Profa. Dra. Lynn Alves (UFBA)
The Ludic Universe Working Group aims to discuss the different investigative and developmental possibilities of digital games, highlighting contemporary issues that challenge these technological devices, such as player data protection, especially for children and teenagers, as well as the configuration of metaverses that are being consolidated in gaming environments such as Fortnite, Roblox, Minecraft, among others. Another relevant point for the WG discussions relates to creating NFTs in games (using blockchain networks), allowing for interoperability between these narrative universes while further stimulating production and consumption. Therefore, proposals that dialogue with these points are welcome to the WG, further strengthening digital games as an investigative object and cultural product.
WG 2 - Image, Editing and Technopoetics (in loco)
Coordination: Prof. Dr. Rogério Barbosa da Silva (CEFET-MG) and Profa. Dra. Amanda Rafaela Gomes Martins (CEFET-MG)
This Working Group explores thinking about Interartistic Relations, Editing Technologies, Technological Education, and Digital Technologies. It seeks to discuss works that deal with static or kinetic images about mechanical (19th century), electronic, and digital (20th and 21st centuries) technologies, as well as the close dialogue between education, editing, electronic poetry, digital literature with technology and its relations with the poetics that permeate it.
WG 3 - Fluid perspectives of cities (in loco)
Coordination: Prof. Dr. Renata Baracho Porto (UFMG)
Fluid, digital, virtual, and intelligent views permeate the use of technologies, contemporary media, their interactions, and applications. This Working Group permeates different areas of knowledge with interdisciplinary proposals beyond the boundaries of architecture, arts, tangible and intangible heritage, museology, urbanism, and collections.
WG 4 - Art, Media, and Digital Technologies (in loco)
Coordination: Marina Bortoluz Polidoro (UFRGS), Alessandra Lucia Bochio (UFRGS), Bettina Rupp (UFRN) and Larissa Macêdo (Centro Universitário Belas Artes)
This Working Group welcomes proposals that discuss the relationships between art, media, and digital technologies. We understand that the presence of new media/media means/ edia in artistic processes is already entirely aturalized and disseminated. Therefore, the rrent moment does not allow for naive uses of digital technologies. Instead, artists use media n how it is programmed to act by combining, ubverting, and reinterpreting them. In this direction, we seek communications that can ontribute different points of view as long as they are linked to artistic practices. We highlight aspects such as experiences with information and communication technologies in artistic creation, translations and transfers between media; poetic and creative processes that explore media errors and transmission noise, alternatives to the traditional circulation of art by using media; critical implications in using digital technologies in art.
WG 5 - Interface design for real problems (in loco)
Coordination: Débora Aita Gasparetto (UFSM) and João Vilnei de Oliveira Filho (UFC)
Interface design as problem-solving is the guiding thread of this Working Group, which aims to work on the relationship between Humans and Non-Humans (from machines to agents of nature). The proposal is to discuss disruptive practices that use technology, interface design, usability, accessibility, UX Design (User Experience), and interface design methodologies to (re)construct the social, taking into account other species, other means and agents, connecting machines | humans | nature and effectively proposing solutions for real problems, crises, conflicts, policies, and disconnections. The Working Group is interdisciplinary, following the interdisciplinary logic of the interface area.
WG 6 - Ecotechnological narratives of bodies (in loco)
Coordinators: Breno Tenório Ramalho de Abreu (UnB) and Thatiane Mendes Duque (UEMG)
We are living in a moment of crises, environmental and humanitarian. Therefore, it is urgent that we seek other perspectives, whether through our relationship with machines, plants, or other living beings in symbiosis. Narratives that can present us with more sustainable ways of life, in collaboration with remote or current technologies, that traverse the body and space. Cultures that intertwine with sound, theatrical, performance, design, and fashion poetics. Thus, this working group seeks to discuss crises of the human body about its environment, whether through biomaterials, wearable technologies, textiles and intelligent jewelry, gadgets, artificial intelligence and the Internet of things, and any other innovations demonstrating these different perspectives. In this way, it seeks to understand how these technologies alter and allow themselves to be changed by contact with the body or the body with space, mediating behaviors, physical, digital, and social modifications and interactions as aesthetic, practical, or symbolic experiences, individually and collectively.
WG 7 - Materialities and circulations of the book (in loco)
Coordination: Ana Elisa Ribeiro (CEFET-MG), Marcos Roberto do Nascimento (PUC Minas), and Pollyanna de Mattos Vecchio (CEFET-MG)
In this group, we accept works that discuss the materialities and circulations of the book, past and present, with their implications for the future. Reflections on the technology of the book, its dynamics, changes and continuities, and the impacts that the book, in all its forms, can have on reading, editorial production, authorship, the economy, and interactions, in general, are admitted. Screens and sheets, paper and pixel, atypical or rare forms, every book object and research about it have a place in this GT, which aims to bring together researchers from areas such as Literature, Social Communication, Sociology, History, Fine Arts, Design, and other related fields. Our proposal is a debate that addresses both theoretical and practical aspects related to the book, its consumption, and its production. In other words, works can derive from academic research, laboratory practices, experimentation, and various technological professional methods.
WG 8 - Images of rupture in narratives (in loco)
Coordination: Paulo Roberto Barreto Caetano (UNIMONTES)
The iconography as a practice of rupture is the theme of this GT. This disruptive character would occur in two ways: in terms of form, such as in Peter Greenaway’s The Pillow Book (1996), which anticipated the coexistence of screens that would dominate the Internet, expected the nonlinear reading of hypertexts; in terms of reception, such as the Benjaminian reading of technical reproducibility, breaking the tradition of the cult value in its individuality and sacred spatiality. It is also worth mentioning the transition from a less discursive to a more imagistic horizon, in Seligmann-Silva’s expression addresses the pictorial turn (a crisis, in the sense of “change”). Thus, the GT invites communications on visual metaphors of technology; new statutes of the image on the Internet (memes overlapping with cartoons, NFTs materializing new financial exchanges); and multi-semiotic narratives in which the image complexifies the word; on biopolitical gaze dominating relationships and visual culture.
WGX - CRISES (in loco and online)
Coordination: Pablo Gobira (UEMG/UFMG)
Working Group X: CRISES will be the only one with remote/online sessions. It welcomes research by master’s and doctoral students and graduates who study the relationships between art, science, and technology (digital arts) and directly or indirectly address the theme of this edition of the event. The submission rules for this group are similar to others, but the presentation mode, if approved, will be different as it will be online.
| FULL PAPER TEMPLATE CIACT/SAD 08 |
REGISTRATION OF ARTWORKS FOR EXHIBITION
In its 8th edition, we intend to continue the movement initiated in 2019 and exhibit works proposed by artists who intend to come to the Congress. For the evaluation of these proposals, we expect the submission of artistic projects (on completed works of art in the field of relations between art, science, and technology).
In the 4th edition of the Panorama Exhibition, the production will have 2 modalities: works to be exhibited in the PHYSICAL environment of PANORAM4 to be held at the UFMG Cultural Center during the CIACT-SAD 08 program, and works will also be accepted for evaluation of the possibility of hybrid (online/offline) exhibition; works to be exhibited EXCLUSIVELY in a metaverse in a 3D computational environment.
SUBMISSION OF THE ARTISTIC PROPOSAL
Until April 2nd, 2023
MODEL OF THE ARTISTIC PROPOSAL
We request that the proposal have the following information: 1) title, 2) summary, 3) category (if possible), 4) Year of work (or if unpublished), 5) Concept/argument/poetic support of the work, 6) technical description of the work, 7) proposal for exhibition design (suggestion on how to display the work), 8) images and videos of the work (or link to website/portfolio etc.), 9) artist mini-bio.
Warning: the evaluation of the communications will be "blind" (the evaluators will not know who the authors are and the authors do not know who the evaluators are). However, it will not be possible to carry out this modality of evaluation of the works. Unfortunately, in this edition, fees/pro labor, travel expenses or production costs are not foreseen for the artists.
In the 4th edition of the Panorama Exhibition, the production will have 2 modalities: works to be exhibited in the PHYSICAL environment of PANORAM4 to be held at the UFMG Cultural Center during the CIACT-SAD 08 program, and works will also be accepted for evaluation of the possibility of hybrid (online/offline) exhibition; works to be exhibited EXCLUSIVELY in a metaverse in a 3D computational environment.
SUBMISSION OF THE ARTISTIC PROPOSAL
Until April 2nd, 2023
MODEL OF THE ARTISTIC PROPOSAL
We request that the proposal have the following information: 1) title, 2) summary, 3) category (if possible), 4) Year of work (or if unpublished), 5) Concept/argument/poetic support of the work, 6) technical description of the work, 7) proposal for exhibition design (suggestion on how to display the work), 8) images and videos of the work (or link to website/portfolio etc.), 9) artist mini-bio.
Warning: the evaluation of the communications will be "blind" (the evaluators will not know who the authors are and the authors do not know who the evaluators are). However, it will not be possible to carry out this modality of evaluation of the works. Unfortunately, in this edition, fees/pro labor, travel expenses or production costs are not foreseen for the artists.
ARTISTIC RESIDENCY PROPOSALS SUBMISSION
To participate in the residency, the artist must submit a proposal for an artistic work that they intend to develop during the residency period. The works must necessarily explore the relationships between art, science, and technology. It is important to note that our event does not have dedicated resources for the residency. We always have partners in our actions, but this may not be available to all selected artists for the residency. Therefore, it is important that all artists see the records of how our event and our other residencies have been and decide whether or not they wish to participate in this proposal that builds a space for sharing and training. For this reason, we emphasize that proposers must ensure their own means of realizing/developing their proposals.
SUBMISSION OF THE ARTISTIC PROPOSAL
Until April 2nd, 2023
MODEL OF THE ARTISTIC PROPOSAL
We request that the proposal have the following information: 1) title, 2) summary, 3) category (if possible), 4) concept/argument/poetic support for the work, 5) technical description of the work that intends to develop, 6) images and videos or whatever is necessary to present the proposal (or links, etc.), 7) artist's mini-bio, 8) artist's portfolio.
Warning: Communication evaluation will be "blind" (evaluators will not know who the authors are and authors will not know who the evaluators are). However, this evaluation modality will not be possible for residency proposals. Unfortunately, in this edition, fees/profit-sharing, travel expenses, or production costs for artists are not provided.
SUBMISSION OF THE ARTISTIC PROPOSAL
Until April 2nd, 2023
MODEL OF THE ARTISTIC PROPOSAL
We request that the proposal have the following information: 1) title, 2) summary, 3) category (if possible), 4) concept/argument/poetic support for the work, 5) technical description of the work that intends to develop, 6) images and videos or whatever is necessary to present the proposal (or links, etc.), 7) artist's mini-bio, 8) artist's portfolio.
Warning: Communication evaluation will be "blind" (evaluators will not know who the authors are and authors will not know who the evaluators are). However, this evaluation modality will not be possible for residency proposals. Unfortunately, in this edition, fees/profit-sharing, travel expenses, or production costs for artists are not provided.
