data-as-symbolic-form-exchange

𝑨𝒏𝒅 𝒊𝒇, 𝒘𝒆 𝐇𝐈𝐆𝐇-𝟓 @ 𝑯𝒚𝒑𝒆𝒓𝒕𝒆𝒙𝒕 𝑻𝒓𝒂𝒏𝒔𝒇𝒆𝒓 𝑷𝒓𝒐𝒕𝒐𝒄𝒐𝒍, 2020
Six-Channel Video Installation
2'0'', 1440 x 1080, 4:3, Color, No Sound. 

Art Statement: 
 

𝑨𝒏𝒅 𝒊𝒇, 𝒘𝒆 𝐇𝐈𝐆𝐇-𝟓 @ 𝑯𝒚𝒑𝒆𝒓𝒕𝒆𝒙𝒕 𝑻𝒓𝒂𝒏𝒔𝒇𝒆𝒓 𝑷𝒓𝒐𝒕𝒐𝒄𝒐𝒍, 2020
Six-Channel Video Installation
2'0'', 1440 x 1080, 4:3, Color, No Sound. 

Art Statement: 
 

𝑨𝒏𝒅 𝒊𝒇, 𝒘𝒆 𝐇𝐈𝐆𝐇-𝟓 @ 𝑯𝒚𝒑𝒆𝒓𝒕𝒆𝒙𝒕 𝑻𝒓𝒂𝒏𝒔𝒇𝒆𝒓 𝑷𝒓𝒐𝒕𝒐𝒄𝒐𝒍, 2020
Six-Channel Video Installation
2'0'', 1440 x 1080, 4:3, Color, No Sound. 


Art Statement: 
 

𝑨𝒏𝒅 𝒊𝒇, 𝒘𝒆 𝐇𝐈𝐆𝐇-𝟓 @ 𝑯𝒚𝒑𝒆𝒓𝒕𝒆𝒙𝒕 𝑻𝒓𝒂𝒏𝒔𝒇𝒆𝒓 𝑷𝒓𝒐𝒕𝒐𝒄𝒐𝒍, 2020
Six-Channel Video Installation
2'0'', 1440 x 1080, 4:3, Color, No Sound. 


Art Statement: 
 

𝑨𝒏𝒅 𝒊𝒇, 𝒘𝒆 𝐇𝐈𝐆𝐇-𝟓 @ 𝑯𝒚𝒑𝒆𝒓𝒕𝒆𝒙𝒕 𝑻𝒓𝒂𝒏𝒔𝒇𝒆𝒓 𝑷𝒓𝒐𝒕𝒐𝒄𝒐𝒍, 2020
Six-Channel Video Installation
2'0'', 1440 x 1080, 4:3, Color, No Sound. 


Art Statement: 
 

404: Paradise not found, 2017
Single-Channel Video.
3'17'', 1920x1080, 16:9, color, stereo.

404: Paradise not found tells the story of Jennifer, whose photograph was the first to be used in a Photoshop tutorial, where she was edited - cut out of her pool at home, and pasted on a beach. I figured that in a sense, Jennifer's life continued on that beach, and she had to deal with a lot on her own after the tutorial was over and the computer was turned off. He met a naughty dolphin, a virus in disguise, and discovered that after all, not even paradise is backed up on iCloud.

404: Paradise not found conta a história de Jennifer, cuja sua fotografia foi a primeira a ser utilizada num tutorial de Photoshop, onde ela foi editada – recortada fora da sua piscina em casa, e colada numa praia. Imaginei que num certo sentido, a vida da Jennifer continuou nessa praia, e ela teve que lidar com muita coisa sozinha depois que o tutorial acabou e o computador foi desligado. Conheceu um golfinho safado, um virus disfarçado, e descobriu que afinal, nem o paraíso tem backup no iCloud.

Car Feeling creates space from the partitioning of flat. Flat is the soft hum of “life’s white machine” (​Lerner​). You can walk around the car and imagine that it belongs to you.

Car Feeling creates space from the partitioning of flat. Flat is the soft hum of “life’s white machine” (​Lerner​). You can walk around the car and imagine that it belongs to you.

Car Feeling creates space from the partitioning of flat. Flat is the soft hum of “life’s white machine” (​Lerner​). You can walk around the car and imagine that it belongs to you.

Car Feeling creates space from the partitioning of flat. Flat is the soft hum of “life’s white machine” (​Lerner​). You can walk around the car and imagine that it belongs to you.

Untitled, 2018 
6'x 5', Fibers Wall-Mounted Sculpture.
Mixed Media: Kanekalon, Tinsel, Barrettes, Beads, Chicken Wire.

Art Statement: 
Through barrettes, beads, Kanekalon hair and other materials I associate with my childhood, I allow myself to grapple through personal memories and bring them into a tangible realm investigated as installations, sculptures and mixed media drawings. Direct contact with my materials has a great implication on my practice. Being able to be hands on allows me translate the nostalgia in an innocent fashion. When brought together, these objects/mediums create an environment that exudes safety, comfortability and a sense of wanderlust. It is necessary for my work to embrace “black joy”. American media is often hyper-focused on black atrocity and perpetuates the negativity of cultural burdens and the weight that we carry as Black people. Through all the tribulation, happiness can exist; Why isn’t that the focus when discussing the lives of Black people? We are much more complex than how we’ve been painted…we are more than a monolith.

92%water, 6%sugar, 2%angelBb, 2019
Single-Channel Video. 
3'47'', 1920x1080, 16:9, color, stereo.

Every girl is half a fruit: watermelon, strawberry, mango, pear, jabuticaba, guava, açaí ... green, ripe, always fresh. Andressa Soares awoke the Fruitful Nation with her army, the Women Fruits, and I joined their forces. I became 100% fruit, 100% sex.

Toda garota é meio fruta: melancia, moranguinho, manga, pera, jabuticaba, goiaba, açaí... verdinha, madura, sempre fresquinha. Andressa Soares despertou a Nação Frutífera com seu exército, as Mulheres Frutas, e eu me juntei as forças delas. Me tornei 100% fruta, 100% sexo. 

A Escala é Grande e Por Isso Ficamos Por Aqui, 2019
(The Scale is Large and That's About it)
Single-Channel Video.
1'00'', 1440x900, 16:10, color, stereo.
Art Statement: 
A performance for the camera in which simultaneous captures are made using a system of screen recording, a scanner and a webcam. The dialogue between these three means of capturing an image is supported by the repetitive act of scanning different angles of a face, while the webcam records another version of that same face and the computer records the movements made with the mouse. This game between hidden layers is the narrative link that presents a situation in multiple and contradictory alternatives.
Uma performance para a câmera na qual capturas simultâneas são feitas através de um sistema de screen recording, um scanner e uma webcam. O diálogo entre esses três meios de captação de imagem são sustentados pelo ato repetitivo de escanear diferentes ângulos de um rosto, enquanto a webcam registra uma outra versão desse mesmo rosto e o computador filma os movimentos feitos com o mouse. Esse jogo entre camadas escondidas é o elo narrativo que apresenta uma situação em múltiplas e contraditórias alternativas.



Artist: Nicole Kouts
Pronouns: She/Hers
Birthday/Location: 11 24 1997 Brazil
Artist's Bio/Statement: 
Nicole Kouts (Brazil, 1997). Behind the eyes ahead. With a multimedia work, he presents the image as an issue. The places of memory and their multiform narratives, the dogmas of the present and their ancestral rituals, the archeology of the process in the contemporary instability of the senses. A context of convergences and divergences between analog and digital media and media. Bachelor of Visual Arts, integrated festivals and exhibitions around the world and online. He also dedicates himself to illustration, experimental projects of independent digital curation, to scenography, costumes, puppets and music.
Nicole Kouts (Brasil, 1997). Atrás dos olhos em frente. Com um trabalho multimídia, apresenta a imagem como questão. Os lugares da memória e suas narrativas multiformes, os dogmas do presente e seus rituais ancestrais, a arqueologia do processo na instabilidade contemporânea dos sentidos. Um contexto convergências e divergências entre mídias e meios analógicos e digitais. Bacharel em Artes Visuais, integrou festivais e exposições ao redor do mundo e online. Dedica-se também a ilustração, projetos experimentais de curadoria digital independente, à cenografia, figurino, fantoches e à música.

'Abstract Ping-Pong' In... Cut–Out World!™, 2020
Single-Channel Video.
6'08'', 1440 x 1080, 4:3, Digitized VHS, color, stereo.

Abstract Ping-Pong... A game...? A sport...? A lifestyle...? Unlike regular Table Tennis, Abstract Ping-Pong deconstructs the relational space between two subjects, who follow two basic rules:
	1. The players must keep the ball moving back and forth beyond the table's basic field while still remaining in orbit.
	2. No Scoring or Time-Keeping. No. Scoring. Or. Time-Keeping.
Right now, isolation kind of feels like that. An arbitrary lottery of good and bad remote interactions set within an infinite blank space, which ends up serving as framework for a non-sequential zapping of actions, catalogued objects and distorted memory flashbacks. In the context of SARS-CoV-2 Quarantine, our notions of both temporality and spatiality seem to have been continuously expanding / contracting / fading / sprouting and connecting. Abstract Ping-Pong is my first work set in Cut–Out World!TM: an infinite space made up of only positive space. It was inspired by both Paper Doll Cutouts and a SpongeBob SquarePants' episode called "SB-129".


"Pingue-Pongue Abstrato"... (Um jogo ...? Um esporte ...? Um estilo de vida ...?) é algo que eu e um amigo inventamos alguns anos atrás enquanto morava em Milwaukee. As duas únicas diferenças da nossa versão com o Ping-Pong original são:
	1. A ausência de qualquer tipo de pontuação ou cronometragem.
	2. O jogador deve manter a bola em constante movimento além do campo básico da mesa.
Em tempos de quarentena, as noções de temporalidade e espacialidade parecem estar continuamente se expandindo / contraindo / desvanecendo / brotando / conectando... Não só pra mim mas para todo mundo. Ping-Pong Abstrato é meu primeiro trabalho dentro do Cut-Out World!™: um espaço infinito composto apenas de espaço positivo. Foi inspirado nos recortes de bonecas de papel e também no episódio "SB-129" do Bob Esponja.

NIKE/EVIL SMILE 4/PLAYSTATION 2, 2020
Acrylic Painting; Digital Documentation. 32” x 26”

Art Statement: 
It’s easier just to smile :-)

Casa, 2019 
Audio Piece.
1'57'', stereo.

Art Statement:
A whispered fiction-narrative captured within a sleep-watch moment. "casa" is a fragment of the voice-diary, recorded at 03:09, triggered by the death of my grandfather. the voice-diary is a compilation of fictional sound recordings that were born from the points of intersection with the real, of a fictional character that operates as a sound-body. it exists only when heard.

Uma narrativa ficção-sussurrada captada no momento vigilia-sono. "casa" é um fragmento do diário-voz, gravada às 03:09, teve como gatilho a morte do meu avô. o diário-voz é um compilado de gravações sonoras ficcionais que nasceram a partir dos pontos de intersecção com o real, de um personagem-ficção que opera como um corpo-sonoro. existe apenas quando escutado.

Deepreal, 2020
Digital Image. 4000x4000 px.

Art Statement:
These works operate somewhere between painting and photography, high-res art and low res online artifact. "Brushstrokes" become confused with pixels, the cultural with the personal, and the public with the private. External, interpersonal messaging systems become the vehicle for internal, intrapersonal thoughts.

Nadando em Lagos, 2019
Single-Channel Video.
18'27'', 1920x1080, 16:9, color, stereo.
Art Statement: 
Recovering data from damaged or discarded hard drives, purchased from electronic waste deposits, constitutes a gigantic collection of other people's personal information. Playing with the appropriation of these images, I confront not so much the possibility of rescuing the stories that are no longer narrated, but the emptiness that remains of a promise not fulfilled by a technology that is programmed to store and organize our memories, but also for its own overcoming and discarding. In the video "Nadando em Lagos", a collage of recovered videos is projected and has its improvised soundtrack live. The record of this performance is left in a loop in the gallery. The video has already had 3 live plays and the one sent here occurred on July 10, 2019.
Recuperando dados de discos rígidos danificados ou descartados, comprados em depósitos de lixo eletrônico, constituí um acervo gigantesco de informações pessoais alheias. Jogando com a apropriação dessas imagens, confronto não tanto a possibilidade de resgatar as histórias que deixaram de ser narradas, mas o vazio que resta de uma promessa não cumprida por uma tecnologia que é programada para guardar e organizar nossas memórias, mas também para sua própria superação e descarte. No video "Nadando em Lagos", uma colagem de videos recuperados é projetada e tem sua trilha sonora improvisada ao vivo. O registro dessa performance é deixado em loop na galeria. O vídeo já teve 3 execuções ao vivo e a aqui enviada ocorreu em 10 de julho de 2019.



Artist: Leo Caobelli 
Pronouns: He/Him
Birthday/Location: 04/28/1980 – Brasil
Artist's Bio/Statement: 
My work is often born out of a kind of archivist impulse: to collect, compile, reorder, catalog. It is not by chance that the same set of surgical procedures is also the root of the research presented here. The project that can be crudely described as a kind of “Hard Disks archeology”, ended up appropriating its name from a passage by William Wilson, an investigative tale by Edgar Allan Poe, in which the character reports: “I would like you to find out for me, among the details that I am about to report, some small oasis of fatality, lost in a desert of errors ”. My collection process, which was previously focused on searches for flea fairs, is now located in electronic waste recycling sheds, whether in Porto Alegre, São Paulo, Rio de Janeiro, or Lagos, Nigeria (destination of the technological waste of developed countries). It is there that programmed obsolescence materializes - tons of technological material discarded as scrap. Among so many pieces, my search is restricted to hard drives, a computer component responsible for storing data such as photos, videos, music and texts. They are acquired for their physical value, their gross weight, between R $ 3.00 and R $ 4.00 per kilo. With each field trip, the new hard drives become part of my catalog (inventory / investigation) that separates them by place of purchase, number of the field trip and the result of their reading test, at which point a data recovery software extracts its latent content (green label for the disks from which data recovery was possible and red for those not). Here emerge the small oasis of fatality lost among deserts of errors: holiday photos and videos, celebrations, births, the most diverse rites, in addition to pornography, music, texts, documents, the digital life of the contemporary world.


Frequentemente meus trabalhos nascem de uma espécie de impulso arquivista: coletar, compilar, reordenar, catalogar. Não por acaso esse mesmo conjunto de procedimentos operatórios constituem também as raízes da pesquisa aqui apresentada. O projeto que pode ser descrito cruamente como uma espécie de “arqueologia de Hard Disks”, acabou apropriando seu nome de uma passagem de William Wilson, conto investigativo de Edgar Allan Poe, no qual o personagem relata: “Desejaria que descobrissem para mim, entre os pormenores que estou a ponto de relatar, algum pequeno oásis de fatalidade, perdido num deserto de erros”. Meu processo de coleta que antes se concentrava em buscas por feiras das pulgas, hoje se localiza em galpões de reciclagem de lixo eletrônico, sejam esses em Porto Alegre, São Paulo, Rio de Janeiro, ou Lagos, na Nigéria (destino do lixo tecnológico dos países desenvolvidos). É lá que se materializa a obsolescência programada — toneladas de material tecnológico descartadas como sucata. Entre tantas peças, minha busca se restringe aos discos rígidos, componente da informática responsável pelo armazenamento de dados como fotos, vídeos, música e textos. Eles são adquiridos por seu valor físico, seu peso bruto, entre R$ 3,00 e R$ 4,00 o quilo. A cada saída de campo realizada, os novos HDs passam a integrar meu catálogo (inventário/investigação) que os separa por local de compra, número da saída de campo e resultado do seu teste de leitura, momento no qual um software de recuperação de dados extrai seu conteúdo latente (etiqueta verde para os discos dos quais foi possível a recuperação de dados e vermelha para os que não). Aqui emergem os pequenos oásis de fatalidade perdidos entre desertos de erros: fotografias e vídeos de férias, celebrações, nascimentos, ritos dos mais diversos, além de pornografia, músicas, textos, documentos, a vida digital do mundo contemporâneo.

Cesura, 2020
Single-Channel Video.
12'50'', 1920x1080, 16:9, color, stereo.

Art Statement: 
A cesura is a metrical pause or break in a verse where one phrase ends and another phrase begins. We delve into this space and radical formulations of the break (following theoretical frameworks of our mentor, Fred Moten) in an immersive audiovisual installation experimenting with queer sound as affective material tonality in a practice of mistepping form. With no singular way to experience the installation, we hope our audience experiences a multitude of enlivening sensory conditions. In this political moment of slow death and extreme injustice, our work hopes to incite an abolition of the separability of senses, and by extension, the dichotomy of content and form. Our content is infused with a self-reflective awareness of its own form and the forms which we traverse mesh together in their own undoing. The sound component of the piece, which comes first, starts with editing -- sampling / cutting / distorting / reversing / slowing / speeding up / automating and overlaying sounds, sonic textures, or combinations of frequencies. We work in the digital audio workspace AbletonLive improvising off each other, working separately and together. Details as portals. The sampled/utilized sounds derive anywhere from domestic or field recordings to personal and familial archives to voice memos to voicemails to sound bites from beloved collaborators, etc. None of the sounds or their combinations are random, and the same holds for the video elements. We interweave video and sonic textural elements, track automation, animation, screen recording, textual reenactment, hacking, and other forms.

Non Binary in Binary, 2019
Virtual Installation. Duration and Dimensions Variable.

Art Statement: 
In this work, the work continuously displays on the screen a set of names of non-gender identities binary in binary code. It converts each character from those names and prints that value into binary continuously. My proposal is to tense how non-binary gender identities, seen through a binary perspective, will make sense. More than that, if there were names like "man" or "woman", within a strictly binary logic, would it still be possible to recognize them? The point of the work is, in a way, to tension how much such categories are already apprehended a priori. More than that, it is to expose how much a series of identity categories, seen from a logic that does not understand them, tension the acquisition of a status of recognition or intelligibility.

Neste trabalho, a obra exibe na tela sem parar um conjunto de nomes de identidades de gêneros não binários em código binário. Ela converte cada caractere desses nomes e imprime tal valor em binário de modo contínuo. Minha proposta é tensionar de que modo farão sentido as identidades de gênero nãobinárias, vistas por uma ótica binária. Mais que isso, caso estivessem nomes como "homem" ou "mulher", dentro de uma lógica estritamente binária, ainda assim seria possível reconhecê-los? O ponto da obra é, de certo modo, tensionar o quanto tais categorias já são apreendidas a priori. Mais que isso, é expor o quanto uma série de categorias identitárias, vistas a partir de uma lógica que não as compreende, tensionam a aquisição de um status de reconhecimento ou inteligibilidade.

Extemporization with Strangler Fig (Striation Sonification), 2019
Single-Channel Video; Sound Performance. 
Feat. Lucinda Dayhew 
8'48'', 1920x1080, 16:9, sound, stereo.

Art Statement: 
For this work, I collaborated with interdisciplinary artist Lucinda Dayhew and a strangler fig tree growing in Soberania National Park in Gamboa, Panama to produce an improvised composition. All audio is recorded from within the body of the tree by using a high-gain contact microphone attached to a probe inserted into the fig's trunk. This technique reveals a vast array of sounds and timbres emanating from within tree's trunk- including insect inhabitants, cracks and creeks, and Dayhew's and my own curious touches and taps. Through the performance, we seek to evoke questions regarding inter species collaboration, sound as memory (materially as a memory of a temporal event and conceptually as a reflection of one's own unique duration), ecological re-envisioning, and the poetics of digital interfaces.

Para este trabalho, colaborei com a artista Lucinda Dayhew e uma Figureira Estranguladora (Ficus Insipida) que cresce no Parque Nacional Soberania em Gamboa, no Panamá, onde realizamos a composição improvisada desta performance. Todo o áudio é gravado de dentro do corpo da árvore, usando um microfone de contato de alto ganho conectado a uma sonda inserida no tronco da figueira. Esta técnica revela uma vasta gama de sons e timbres que perfilam o interior do tronco da árvore – incluindo insetos, rachaduras, água, e também nossos toques curiosos. Com este trabalho, procuramos levantar questões relacionadas à colaboração entre espécies, som como memória (materialmente como memória de um evento temporal e conceitualmente como reflexo da própria duração única), re-visualização ecológica e poética das interfaces digitais.

Funk Ficção, 2020
Single-Channel Video; Digital Collage. 
8'35'', 1920x1080, 16:9, color, stereo.

Art Statement: 
Funk Fiction is an artwork formed by two video channels working in sync, suggesting a fictitious reality for the Brazil of the future, through stereotyped images of a national identity found online. The soundtrack is formed and edited from presidential speeches, accompanied by images of famous dance steps disseminated on the Internet, as well as illustrations by artist Jean Debret and imaginative and futuristic maps of Brazil. Through this narrative, a utopia / dystopia for the country is imagined, based on elements that form it as a nation. The work arises from the question “Which Brazil do you want for the future?”, Rede Globo television campaign carried out in the 2018 election year.

Funk Ficção is an artwork formed by two video channels working in sync, suggesting a fictitious reality for the Brazil of the future, through stereotyped images of a national identity found online. The soundtrack is formed and edited from presidential speeches, accompanied by images of famous dance steps disseminated on the Internet, as well as illustrations by artist Jean Debret and imaginative and futuristic maps of Brazil. Through this narrative, a utopia / dystopia for the country is imagined, based on elements that form it as a nation. The work arises from the question “Which Brazil do you want for the future?”, a Rede Globo television campaign carried out in the 2018 election year.

Flat Earth: Highway Scene, 2020
Single-Channel Video.
30'00'', 1920x1080, 16:9, color, no sound.

Art Statement: 
Flat Earth: highway scene, derives its material from a debate undertaken by autonomous vehicle manufactures. Can vehicle hardware kits adopt cameras as the primary sensor, rather than spatial sensors like lidar? The video is made from 1 minute of dash cam footage which was processed by a neural network, Super Slo-Mo, that interpolated new frames resulting in the videos slow motion. 97% of Flat Earth: highway scene is constructed by the neural network. The continual stratification of time is like a stress-test for highlighting contradictions that exist within an ego-centric, image-based spatial subjectivity. In reference to Denise Scott Brown and Robert Venturi’s Learning From Las Vegas, Flat Earth: highway scene contextualizes the electronic image as a new layer in the human/machine gaze that manifests itself as forms in the landscape of expressways in the United States of America. Super Slo-Mo was acquired for private development by Nvidia, which manufactures most of the processors that are used in autonomous vehicles, in late 2019.

Funk Ficção, 2020
2-Channel Video Installation; Digital Collage. 
8'35'', 1920x1080, 16:9, color, stereo.

Art Statement: 
Funk Fiction is an artwork formed by two video channels working in sync, suggesting a fictitious reality for the Brazil of the future, through stereotyped images of a national identity found online. The soundtrack is formed and edited from presidential speeches, accompanied by images of famous dance steps disseminated on the Internet, as well as illustrations by artist Jean Debret and imaginative and futuristic maps of Brazil. Through this narrative, a utopia / dystopia for the country is imagined, based on elements that form it as a nation. The work arises from the question “Which Brazil do you want for the future?”, Rede Globo television campaign carried out in the 2018 election year.
Funk Ficção is an artwork formed by two video channels working in sync, suggesting a fictitious reality for the Brazil of the future, through stereotyped images of a national identity found online. The soundtrack is formed and edited from presidential speeches, accompanied by images of famous dance steps disseminated on the Internet, as well as illustrations by artist Jean Debret and imaginative and futuristic maps of Brazil. Through this narrative, a utopia / dystopia for the country is imagined, based on elements that form it as a nation. The work arises from the question “Which Brazil do you want for the future?”, a Rede Globo television campaign carried out in the 2018 election year.

Funk Ficção, 2020
2-Channel Video Installation; Digital Collage. 
8'35'', 1920x1080, 16:9, color, stereo.

Art Statement: 
Funk Fiction is an artwork formed by two video channels working in sync, suggesting a fictitious reality for the Brazil of the future, through stereotyped images of a national identity found online. The soundtrack is formed and edited from presidential speeches, accompanied by images of famous dance steps disseminated on the Internet, as well as illustrations by artist Jean Debret and imaginative and futuristic maps of Brazil. Through this narrative, a utopia / dystopia for the country is imagined, based on elements that form it as a nation. The work arises from the question “Which Brazil do you want for the future?”, Rede Globo television campaign carried out in the 2018 election year.
Funk Ficção is an artwork formed by two video channels working in sync, suggesting a fictitious reality for the Brazil of the future, through stereotyped images of a national identity found online. The soundtrack is formed and edited from presidential speeches, accompanied by images of famous dance steps disseminated on the Internet, as well as illustrations by artist Jean Debret and imaginative and futuristic maps of Brazil. Through this narrative, a utopia / dystopia for the country is imagined, based on elements that form it as a nation. The work arises from the question “Which Brazil do you want for the future?”, a Rede Globo television campaign carried out in the 2018 election year.

A Flor Singela (The Unassuming Flower), 2020
Single-Channel Video
2'0'', 1440 x 1080, 4:3, Color, No Sound. 

Art Statement: 
"The Unassuming flower" was a video made through the Olhão Web residency program. A floral pattern of cross-stitch embroidery is reconstructed on video, each of the stitches being filled with a piece of gay pornography. Although the result is not explicit, there is a physical movement in the video. Based on this work and my recent research, I try to reflect on a popular imaginary of ideals of gender, romance, sexuality and desire. The video is also a formal survey, where I appropriate traditional strategies of composing images of crafts to build a new narrative in digital language.
"A flor singela" foi um vídeo realizado dentro do programa de web residência do Olhão (@olhaobarrafunda). Um padrão floral de bordado ponto-cruz é reconstituído em vídeo, sendo cada um dos pontos preenchidos por um trecho de pornografia gay. Apesar do resultado não ser explícito, notase um movimento físico no vídeo. A partir desse trabalho e da minha pesquisa recente, tento refletir sobre um imaginário popular de ideais de gênero, romance, sexualidade e desejo. O vídeo também é uma pesquisa formal, onde me aproprio de estratégias de composição tradicionais de imagens do artesanato para construir uma nova narrativa em linguagem digital.

ERA DE KÇA, 2019
(AGE OF HUNTING)
Video Performance.
6'09'', 1920x1080, 16:9, sound, stereo.

Art Statement: 
The wounds of slavery were readily found on black skin, either by the marks made with hot iron or by the welts of brutality in the flesh. "Any black man who escaped was to be burnt to red." Hunting is nothing more than the practice of killing or capturing animals by chasing, trapping or tracking them. Whiteness must begin to understand the importance of dialogue regarding this perverse structure that fuels racial inequality, so the idea that it is possible to awaken a sense of responsibility within white people towards racism seems practically useless, since the focus of most whiteness is hyperfocused on the functions for maintaining racism. Marking, exposing and generating discomfort in those guilty of this system, those that continue to escape their responsibility within society, is the immediate consumption of the hunting age.

As feridas da escravidão eram prontamente encontradas na pele negra, seja pelas marcas feitas a ferro quente ou pelos vergões da brutalidade na carne. “Qualquer negro que fugisse era queimado em brasa”. Caçar nada mais é do que a prática de matar ou capturar animais perseguindo, prendendo ou rastreando-os. A branquitude precisa começar a entender a necessidade do diálogo sobre essa estrutura perversa que alimenta a desigualdade racial só que a ideia de que é possível despertar um senso de responsabilidade no branco, sobre os efeitos do racismo, é praticamente inútil já que o foco de cada branco está concentrado nas funções para manutenção do racismo. Marcar, expor e gerar desconforto nos culpados por esse sistema que seguem fugindo da sua responsabilidade é o consumo imediato da era de caça.

InfoSphere, 2019
2-Channel Video.
2'37'', 1920x1080, 16:9, color, stereo.

Art Statement:
The semi-closed system depicted in InfoSphere is a technologically-enabled metabolic loop that cycles liquid between two bodies and the landscape in which they are situated. Building on the survivalist fantasy of terraforming Mars in hope of relying fully on life-sustaining technologies, I am interested in the meditative or monotonous qualities that emerge when daily life revolves fully around the closed systems of its own maintenance. In reference to Ridley Scott’s The Martian, architectural theorist Lydia Kallipoliti explains, “The martian launches a new biotechnological character, one in which human agency is delegated in terms of input and output, yet one that seeks comfort in a serial loop of daily patterns that enable him to conquer an unforeseeable and uninhabitable land”. The closed looping of InfoSphere can echo a similar scenario of participating in computational processes of survival as a mechanism of existential avoidance and control. Whereas the micro-event depicted is the life-sustaining interconnection between two bodies, the larger phenomenon I am exploring in InfoSphere is the informational transmission that this interaction emits into the larger cosmic plenum. The title of the work originates from the term noosphere, created by the twentieth century Jesuit priest and paleontologist Pierre Teilhard de Chardin, referring to a planetary envelope of shared thought that has manifested over the course of biological evolution. This postulation takes on new meaning as a precedent for the thick layer of data continually spilling out from bio-agents into a collective and planetary whole. Through the existence of a perpetual interconnected data flow, the “distinct” or “separate” human subject is repositioned as an informationally embodied organism, fundamentally enmeshed into a global nexus of both human and nonhuman agents of exchange, with particular relevance to our current crisis of COVID-19.

SROSD: Introduction To Lateral Expressive Scribbling, 2020
(SROSD: Introdução ao Rabisco Expressivo Lateral) 
Single-Channel Video.
9'59'', 1280×720, 16:9, color, stereo.

Art Statement: 
Where does Inspiration come from? What motivates us to create? Stob Reinberg has decided to found their very own Online University to help people find these answers. Unlike most Universities, this one is free as education should not be decided through money, but curiosity.

Reciclagem (Recycling), 2018 
Single-Channel Video; Double Video Corruption.
1'35'', 1920x1080, 16:9, color, stereo. 

Art Statement: 
Dozens of files from the computer's recycle bin. Images, texts, installers and files of all kinds, transformed into videos, images, sounds and abstract textures, simulating virtual recycling. A process that leads the machine to generate random results, and with a certain autonomy, arbitrarily reframe the data.
Dezenas de arquivos da lixeira do computador. Imagens, textos, instaladores e arquivos de todo o tipo, transformados em videos, imagens sons e texturas abstratas, simulando uma reciclagem no virtual. Um processo que leva a maquina a gerar resultados aleatórios,e com uma certa autonomia, ressignifica os dados arbitrariamente.

Reprodução Automática, 2020
(Automatic Playback)
Single-Channel Video.
9'59'', 1920x1080, 16:9, color, stereo.

Art Statement:
Plataformas de exibição de vídeos online utilizam um mecanismo denominado "reprodução automática" para indicar aos usuários novos conteúdos ao término do que estavam assistindo até então. Essa
sugestão é calculada por um algoritmo a partir do histórico de visualizações atribuído a um dado indivíduo. Uma vez que esses dados sejam excluídos da equação, esse mesmo mecanismo pode levar a resultados inesperados e imprevisíveis possibilitando uma deriva em ambiente virtual.

headgear.pw, 2018
Website; Dimensions Variable.

Art Statement: 
Headgear is a collection of passages that float around the topics of childhood and indifference while set in a cross-cultural haze. Pulling from the author's desire to control environments that lack resolve, the text assembles fragmented sentences that have been shuffled, remixed, and revised repeatedly. Words turn into motifs, migrating within a fluid pattern sequence. The final outcome is a series of adaptations that seek to carve out new meaning in the face of limited language.

Empatias Programadas, 2020
(Programmed Empathy)
Photography; Virtual Installation. Dimensions Variable.

Art Statement: 
The work “Programmed Empathies” (2020) arises from the need to highlight the limits of representation and still life on an entirely virtual platform through generating a constant catalog of animals hunted in GTA V. Discussing the possibilities of coping and empathy with this digital media which has been constantly confused with reality, allowing us to approach what makes us forget the synthetic encoding of the digital.
O trabalho “Empatias Programadas” (2020) surge da necessidade de evidenciar os limites da representação/natureza morta em uma plataforma inteiramente virtual, gerando uma constante catalogação de animais caçados no jogo GTA V. Discutindo as possibilidades de enfrentamento e empatia com essa mídia digital que vem constantemente se confundindo com a realidade, nos permitindo abordagens que nos façam esquecer a codificação sintética do digital.

Empatias Programadas, 2020
(Programmed Empathy)
Photography; Virtual Installation. Dimensions Variable.

Art Statement: 
The work “Programmed Empathies” (2020) arises from the need to highlight the limits of representation and still life on an entirely virtual platform through generating a constant catalog of animals hunted in GTA V. Discussing the possibilities of coping and empathy with this digital media which has been constantly confused with reality, allowing us to approach what makes us forget the synthetic encoding of the digital.
O trabalho “Empatias Programadas” (2020) surge da necessidade de evidenciar os limites da representação/natureza morta em uma plataforma inteiramente virtual, gerando uma constante catalogação de animais caçados no jogo GTA V. Discutindo as possibilidades de enfrentamento e empatia com essa mídia digital que vem constantemente se confundindo com a realidade, nos permitindo abordagens que nos façam esquecer a codificação sintética do digital.

1814321 – Bagagem Emocional, 2020 
(1814321 – Emotional Baggage)
Painting; Digital Collage.
4803 x 3999 px.

Art Statement:
I painted parts of my body in this red suitcase that I found on the sidewalk. The intention is for healing. 1814321 is a numerical sequence that attracts perfect health, created by the mathematician Grigori Grabovoi. The original photo was taken by Sofia Nehring.

Pintei partes do meu corpo nessa mala vermelha que achei pela calçada. A intenção é de cura. 1814321 é uma sequência numérica que atrai saúde perfeita, criada pelo matemático Grigori Grabovoi. A foto original foi tirada por Sofia Nehring.

That Moment, This Moment, and Everything In Between, 2019
(Aquele Momento, Esse Momento, e Seus Intermediários)
Single-Channel Video.
30'04'', 1440x1080, 4:3, Digitized VHS, color, stereo.

I used to live right around the corner from where this piece was originally exhibited. In the video, there are three timelines introjected within the same space. The first is 'That Moment': May 8, 2015 in Milwaukee, Wisconsin. That night, I threw a themed party to celebrate my birthday, which was called “Class of 1978”. Mrs. Meatloaf, an alter ego who leads my 2017 works “Family Meatloaf” and “Meatloaftm Commercial” also exists in the same year. The next morning, I woke up in conditions similar to Lux Lisbon after her perfect-yet-wistful prom night in the movie The Virgin Suicides – the film that inspired the party’s theme itself. The second timeline is ‘That Moment’. An ever-changing present that became the final point to the video’s extra- chronological dialogue represented within the spatiality of video. The third and perhaps the most important, is ‘Everything In Between'. It guides that initial moment to here and now. While I was in Brazil, I patiently waited inside a waiting room – an infinite blue space that resided within mental life: I actually had never left. And that party, the one taking place both in 1978 and 2015, can still be found in full jam somewhere in a virtual message box. There, a multi-layered Bárbara can be found with choked dimensions, skipping and zapping through its channels like a scratched tape,
Artwork Info:
1.
That Moment, This Moment, and Everything In Between, 2019
(Aquele Momento, Esse Momento, e Seus Intermediários)
Single-Channel Video.
30'04'', 1440x1080, 4:3, Digitized VHS, color, stereo.
2.
'Abstract Ping-Pong' In... Cut–Out World!TM, 2020
Single-Channel Video.
6'08'', 1440 x 1080, 4:3, Digitized VHS, color, stereo.
as it searches for a summary of meaning. Revealing the faint trace of connections between seemingly unrelated events, Bárbara slips into and out of multiple Bárbaras: a confused debutante turning twenty; a manic and performative Mrs. Meatloaf; a time-traveler crashing her parents wedding in Den Haag; an exhausted artist who only wears green. There, everything that happens will happen today.

Series: Pyura Chilensis Feels Pain, 2010
Digital Installation.
5 diptychs; Appropriated Images; Dimensions Variable.  

Art Statement:
After seeing an image of a rock with bloody entrails, the first thing I did was to research more about it. Did that exist? It was repulsive but in its whole interesting: a marine animal that lives on the coast of Chile, called Piure (Pyura Chilensis). This animal has a superhuman appearance and is disgusting for the faint of stomach, but that no harm can do to us: it is just a strange ascidian used in Latin cuisine. The title "Pyura Chilensis feels pain" came up during this research, alerting the animal's condition as a living being and not a thing. The online image submits a certain indifference about their relationships and from that my research arose. For ten years on my blog, I created through successive fixations a strategy to relate images in diptychs through their similarities, revealing disturbances due to the absence of their meanings, thus contaminating their perception and representation. The bizarre resemblance has precisely a symptomatic character in a simulation of disturbing and yet sensual values to look at. "Pyura Chilensis feels pain" is an active series of questionable images that appear online without context, which are related in some aspect regardless of their nature but still formative.

Após ver uma imagem de uma rocha com entranhas sangrentas, a primeira coisa que fiz foi pesquisar mais sobre. Aquilo existia? Era repulsivo porém em seu todo interessante: um animal marinho que vive na costa do Chile, chamado Piure (Pyura Chilensis). Esse animal tem uma aparência sobre-humana e repugnante para fracos de estômago, porém que nenhum mal pode nos fazer: é apenas uma ascídia estranha usada na culinária latina. O título "Pyura Chilensis feels pain" surgiu durante essa pesquisa, alertando a condição do animal como um ser vivo e não uma coisa. A imagem online submete uma certa indiferença sobre suas relações e a partir disso surgiu minha pesquisa. Durante dez anos em meu blog, criei através de fixações sucessivas uma estratégia para relacionar imagens em dípticos através de suas semelhanças, revelando perturbações devido a ausência de seus significados, assim, contaminando a percepção e representação das mesmas. A semelhança bizarra tem precisamente um caráter sintomático em uma simulação de valores perturbadores e ainda assim sensuais ao olhar. "Pyura Chilensis feels pain" é uma série ativa de imagens questionáveis que surgem online sem contexto, que se relacionam em algum aspecto indiferente a sua natureza mas ainda assim formativo.

Empatias Programadas, 2020
(Programmed Empathy)
Photography; Virtual Installation. Dimensions Variable.

Art Statement: 
The work “Programmed Empathies” (2020) arises from the need to highlight the limits of representation and still life on an entirely virtual platform through generating a constant catalog of animals hunted in GTA V. Discussing the possibilities of coping and empathy with this digital media which has been constantly confused with reality, allowing us to approach what makes us forget the synthetic encoding of the digital.
O trabalho “Empatias Programadas” (2020) surge da necessidade de evidenciar os limites da representação/natureza morta em uma plataforma inteiramente virtual, gerando uma constante catalogação de animais caçados no jogo GTA V. Discutindo as possibilidades de enfrentamento e empatia com essa mídia digital que vem constantemente se confundindo com a realidade, nos permitindo abordagens que nos façam esquecer a codificação sintética do digital.

Cruzo, 2019
Single-Channel Video.
1'11'', 1920x1080, 16:9, color, stereo.

Cruzo is an exercise in thinking about the elasticity of time through the limits of the video itself, articulating relationships between David Perlov's visual notes, written on the 23rd of January in Katherine Mansfield's diary and excerpts from Exú points of some religions and Afro-Brazilian cults. A look at the notions that cross the idea of a crossroads as a place for notes, unpredictability and possibilities. The echo of another voice that generates a third.

Cruzo é um exercício de pensar a elasticidade do tempo por meio dos limites do próprio vídeo, articulando relações entre as anotações visuais de David Perlov, escritos sobre o dia 23 de Janeiro do diário de Katherine Mansfield e trechos de pontos de Exú de algumas religiões e cultos afro-brasileiro. Um olhar às noções que atravessam a ideia de encruzilhada enquanto lugar de apontamentos, imprevisibilidades e possibilidades. O eco de outra voz que gera uma terceira.

Exclusion, 2020
Single-Channel Video. 
1'39'', 320x568, color, stereo. 

Art Statement: 
Exclusion is a video performance about my understanding of space through the iphone camera. It is an exploration of the detachment from the body and lack of control from the reproduction of the self by the presence of the screen/camera. The performance is blended with an image made out of voice notes, documents, scanned images, and pictures from my phone. This piece is a retrospection about using collected data and technological devices to understand your presences in the real world and/or the virtual world.

ADbdy004, 2020
Digital Image. 1181x1772 px.


Art Statement: 
ADbdy004 presents an image captured from the smartphone transformed through an app that changes the image in almost real time, showing a new face to the user who sees himself on the screen. A differentiated human in the digital reorganization of his image. To be displayed the image is edited in order to meet visual specificities.

ADbdy004 apresenta uma imagem captada a partir do smartphone transformada por meio de app que alterar a imagem em tempo quase real, mostrando um novo rosto ao usuário que se vê na tela. Um humano diferenciado na reorganização digital de sua imagem. Para ser exibida a imagem é editada a fim de atender especificidades visuais.

Mais Fácil de Esquecer (Easier to Forget), 2020
Webpage/Game, Dimensions Variable.

Art Statement: 
It might be easier to forget questions the fluidity of memory - digital and organic. The work examines glitch as an aspect of digital memory, and realizes how these memories of past organic moments are often crystallized, unable to be fluid in a moment of misunderstanding. What does this mean for our ability to understand? What does this mean for empathy for others?

Mais fácil de esquecer questiona a fluidez da memória--digital e orgânico. A obra examina glitch como um aspecto da memória digital, e percebe como essas memórias dos momentos passados orgânicos sãos frequentemente cristalizados, incapaz de ser fluido em um momento de equívoco. O que isso significa para a nossa capacidade de entendimento? O que isso significa para empatia dos outros?

Fragmentos de Um Mundo Palpável, 2020
(Fragments of a Palpable World)
3'47'', 1440x1080, 4:3, Digitized VHS, color, stereo.
Art Statement: 
fragments of a palpable world - it is the audiovisual project and research that seeks to bring compilatory video portraits about physical life in a virtual way. people, actions, dance, bodies, touch, the agglutinated narrative is composed of scenes united only by the cut - the portrait is the main element. / VHS incorporates the nostalgic claim about body exchange. and thus act_01 is constituted, almost documentally, of the fragmented compilation of audiovisual portraits, archived from the palpable era of agglomerations. comments. --- if selected, the work may continue, extending into resulting acts. / can also be changed to the best form of representation in virtual media, according to what is established./


fragmentos de um mundo palpável - é o projeto e pesquisa audiovisual que busca trazer de maneira compilatória retratos em vídeo sobre a vida física de forma virtual. pessoas, ações, dança, corpos, toque, a narrativa aglutinada é composta de cenas unidas apenas pelo corte - o retratado é o elemento principal. /a VHS incorpora a alegação nostálgica sobre a troca corpórea. e assim se constitui, quase que documentalmente, o ato_01 da compilação fragmentada de retratos audiovisuais, arquivados da época palpável das aglomerações. observações. --- se selecionado o trabalho poderá tomar continuidade, estendendo-se em atos decorrentes. /também poderá ser alterado para a melhor forma de representação nas mídias virtuais, de acordo com o que for estabelecido./


Artist: Natasha Valenzuela
Pronouns: She/Hers
Birthday/Location: 05 21 1998 Porto Alegre Brasil
Artist's Bio/Statement: 
designer and visual artist --- works mainly with photography / digital and analog / and audiovisual / in specific, capturing vhs./ people as a central element of the work, records and portraits of
ephemeral moments, of bodies, of touch. - of connection and intimacy with the subject.
designer e artista visual --- trabalha essencialmente com fotografia /digital e analógica/ e audiovisual /em específico, captação vhs./ pessoas como elemento central do trabalho, registros e retratos de
momentos efêmeros, dos corpos, dos toques. -- da conexão e da intimidade liberta com o retratado.

Ressonâncias Microcósmicas Para Frequências Macrossômicas, 2020
(Microcosmic Resonances For Macrosomal Frequencies)
Single-Channel Video; 3-Dimensional Modelling; Digital Collage.
1920x1080px, 16:9, color, stereo.

Art Statement: 
What is below is what keeps what is above. All of these things are and come from one. Through the mediation of this one, all things are connected by radiation. Where is the universal world?

O que está em baixo é o que mantém o que está no alto. Todas essas coisas são e provém de um. Pelamediação deste um, todas as coisas estão conectadas por radiação. O mundo universal está aonde?

Introducing Something Unusual (ISU), 2020
(Introduzindo Algo Novo, IAN)
Augmented/Mixed Reality. Dimentions Variable.

Art Statement: 
Introducing Something Unusual is a project birthed from the circumstances of COVID-19. It is a way to document the internal mental/emotional/spiritual shifts that took place while adjusting to quarantine. My intent was to create a hybrid fictional/nonfictional story about a character (played by me) and his transformation while adjusting to the realities of facing a pandemic. The character, named “the boy”, begins to see apparitions and hear noises around his apartment, and starts to document and record what he’s experiencing. The boy captures several figures that perform movements, emit strange sounds, and conjure ether-like clouds in front of them. These figures don’t just appear in his apartment, but begin to present themselves outside. He sees them on his walks through parks, in alleys, and even in stores. As the videos progress, the figures grow in size, and their various characteristics begin to show in the boy. Their shape and design, the sounds they emit become part of the boy. Ultimately, this piece is about facing that which we do not understand, and the process of dealing with the realities of the unknown. As the unknown becomes more familiar and commonplace, we can then start to accept the situations and internalize it so it becomes part of who we are and how we go about life.

Layers of Observation: a Self-Imposed Medical and Metaphysical Examination, 2020
Single-Channel Video.
4'01'', 1920x1080, 16:9, color, stereo.

Art Statement: This video is a compilation of footage of my face and body, distorted beyond clear recognition. The audio track includes a blend of sounds from a vibrator, my voice, orca whales and underwater sound effects. The orca is the animal I am most afraid of and water is the element I resonate with most. After some reflection and personal experiences with partners, lovers, strangers, and especially doctors. It became clear that other people have an ability to interact with my body in a way that I feel restricted from. I am physically unable to stand outside of myself and pinpoint the moles along my shoulder blades or to see what the small of my back looks like in motion. Fear, imbedded by a cultural distaste in vanity, stopped me from having an intimate relationship with my physical self for years. Using the camera as a means of self-examination, along with hours editing footage, has grown a personal sense of physical and psychological intimacy with my body. Distorting raw footage and audio bytes that have inherent meaning has allowed me to examine myself in a way that is usually reserved for others.

Imaginary, 2020
Webpage; Virtual Installation. Dimensions Variable.

Art Statement: 
Memory is an intangible presence that allows itself to be housed in various objects, sounds, and spaces. Within a home-made webpage, the act of clicking through a digital door takes you to a secret room. The viewer can walk through the spaces at their own pace, and in their own order; but in the end what they experience is a visual piece, a chance at a performance, and reading poetry through song lyrics. All of these together point towards a personal moment in time, housed within the song 'Imaginary' by the band Evanescence.

Seres Virais (Viral Beings), 2020
Single-Channel Video.
4'0'', 1920x1080, 16:9, color, stereo.

Art Statement: 
This video is a great pyre of ideas that emerged during the quarantine process in São Paulo. What does all this want to tell us? Where are we going? What is our role in all of this? Separation is an illusion. It was even an audiovisual experimentation created together with Irû, responsible for the sound part.

Este vídeo é uma grande pira de ideias que surgiram durante o processo de quarentena em São Paulo. O que tudo isso quer nos dizer? Pra onde estamos indo? Qual é o nosso papel em tudo isso? A separação é uma ilusão. Foi mesmo uma experimentação audiovisual foi criada em conjunto com Irû, responsável pela parte sonora.

Stills from The Watchtower
Single-Channel Video; Photography and Found Imagery.
2'03'', 1920x1080, 16:9, color, stereo.

Art Statement: 
Stills from The Watchtower is an ongoing archive of screenshots derived from livestreamed security cameras from around the world. These cameras are available because they still use their default password. They are intended as a meditation on space and time through formal conventions of composition but are designed to ask questions about surveillance and control.

Stills From The Watchtower se trata de um arquivo contínuo de capturas de tela derivadas de câmeras de segurança com transmissão ao vivo de todo o mundo. Essas câmeras estão disponíveis porque ainda usam a senha padrão. Eles são planejados como uma meditação no espaço e no tempo através de convenções formais de composição, mas são projetados para fazer perguntas sobre vigilância e controle.

u$aar v3.0, 2019
Single-Channel Video
3'59'', 1920x1080, 16:9, color, stereo.

Art Statement:
social media platforms stealᵀᴴ analytics & algorithmic lifestyleᵀᴹ in gifs̸ loops or how data is shaping & twisting social / political events 

redes sociais em modo furtivo & o estilo de vida algorítmico VS influência dos dados pessoais na distorção de / eventos / acontecimentos / sociais & políticos

'http://' is an acronym for Hypertext Transfer Protocol, an application protocol for distributed collaborative hypermedia information systems. Working alongside ‘http://’ was the World Wide Web, an information system originally based on the anarchic flux of free information and data exchanges. In the technical aspect, a database is a collection of structured information. But a ‘database’ is anything but a simple collection of items, as it can take different types of abstract forms. The Open-System nature present in the idea of radical-data is what drives http://hypertransfer-protocol, which performs independent exchanges between artists both online and offline. In these exchanges, hyperlink structures and shapes memory.

In his essay “Database As Symbolic Form” Lev Manovich exemplifies this phenomenological aspect of the database–archive by stating that the identity of a CD-ROM as a media bank is projected on another plane, becoming a cultural form in itself. Absolutely everything is being collected and stored: culture, asteroids, DNA patterns, credit records, conversations. When scanned, this data should be cleaned, organized, and indexed. The computer age has brought us a new cultural algorithm: reality-> media-> database. 

This is not limited to Internet territories. Every particle of everything that has ever existed is interconnected: urban rhizomes, ocean currents, magnetic tapes, the World Wide Web, even The CloudTM. Molecular memories. Inorganic memories. A subject is also composed of genetic material, which in turn is also memory. Even memory itself – an archive prototype – is in its essence an imagined territory.

New Media objects may or may not follow these superstructural models, but they often appear as or reflect database models we know. The works in http’s 2020 exhibition ‘data as symbolic form/exchange’ appear as collections of items that the user can perform various operations: observe, browse, search* [...] capture, translate, disseminate. ‘http://data-as-symbolic-form/exchange’ explores the database --- the overlapping databases --- the hypermedia as the model for new forms of cultural and personal memory.
///////
'http://' é um acrônimo para Hypertext Transfer Protocol (Protocolo de Transferência de Hipertexto), e serve de base para comunicação de dados na Internet. Em sua origem, a World Wide Web (Rede Mundial de Computadores) era um sistema de informação que se baseava em um fluxo anárquico de livre troca de dados e informações. Em aspectos técnicos, o database nada mais é do que uma coleção de informações estruturadas. Contudo, justamente pelo fato de poder assumir os mais variados tipos de formas abstratas, o database se torna tudo menos uma coleção simples de itens estruturados. A característica natural de sistemas abertos presente na ideia de “radical-data” é o que impulsiona o projeto http://hypertransfer-protocol, que realiza trocas independentes entre artistas em âmbitos  online e offline. Nessas trocas, o hiperlink estrutura e forma a memória.

Em seu ensaio "Data Como Forma Simbólica" Lev Manovich exemplifica esse aspecto fenomenológico do banco de dados, afirmando que a identidade de um CD-ROM como banco de mídia é projetada em outro plano, tornando-se uma forma cultural em si mesma. Absolutamente tudo está sendo coletado e armazenado: cultura, asteróides, padrões de DNA, registros de cartão de crédito, conversas, etc. Quando digitalizados, esses dados devem ser limpos, organizados e indexados. A era do computador nos trouxe um novo algoritmo cultural: realidade-> mídia-> database.

Isso não se limita aos territórios da Internet. Todas as partículas de tudo o que já existiu estão interconectadas: rizomas urbanos, correntes marítimas, fitas magnéticas, a World Wide Web, e até o A NuvemTM. Memórias moleculares. Memórias inorgânicas. Seres humanos também são compostos de material genético, que por sua vez também é memória. Até a própria memória - um protótipo de arquivo - é, em sua essência um território imaginado.

Objetos midiáticos podem ou não seguir esses modelos superestruturais, mas geralmente aparecem ou refletem os modelos de banco de dados que conhecemos. Os trabalhos da exposição http://"data-como-troca/forma-simbólica” são dispostos como coleções de itens que o usuário pode executar em várias operações: observando, navegando, pesquisando [...] capturando, traduzindo, disseminando. http://”data-como-troca/forma-simbólica” explora o database – a sobreposição e empilhamento de banco de dados – a hipermídia como modelo para novas formas de memórias culturais e pessoais.