Jekyll2026-09-11T02:51:08+01:00https://artecodigo.pt/feed.xmlArteCódigoarte . ecologia . tecnologiaAtlantis fieldwork residence, workshops and exhibition international partnership2026-09-04T00:00:00+01:002026-09-04T00:00:00+01:00https://artecodigo.pt/b/Atlantis-international-partnershipAtlantis residence, workshops and exhibition international partnership
ArteCódigo is looking for international partnerships to extend the Atlantis Diluvian Protocols project, supported by the Portuguese Republic.
Atlantis Diluvian Protocols graphic base imagery
ArteCódigo is already producing some international locations for next international geolocalized Atlantis projects, besides the new works being produced in continental Portugal for the Atlantis Diluvian Protocols project. Ideally hosting institutions nearby marine coastal locations around the mediterranean sea, the atlantic, pacific or indic oceans, artic and antarctic, costal Africa, deep Egypt, or Japan, for example. Or historically relevant landmarks, with traditions connected to ancient mythology of the atlantean theme, of overflowing human hubris overpowered by nature, recurrently taking place on the third rock from the sun.
The international partnership involves hosting a residency for the artist, and seldomly one assistant, of approximately two to three weeks, in order to undertake media sampling fieldwork and local traditions research. During this first residency, 1-3 participatory workshops of introduction to digital arts and authorial code, aimed at geolocalized videogame contents co-creation by the participants for the ‘Atlantis (name-of-location/tradition)’ geolocalized videogame.
During a second residence, we setup in person a final exhibition with the built videogame accompanied by static and dynamic works (photographs, drawings, 3D printed sculptures, videos) created solely from the site-specific fieldwork residency and workshops of the hosting location/institution. The theme is the legend of Atlantis and the mythology associated with enchanted sea creatures, crafted in authorial imaginary arts, interlinked to the oral and written traditions of the places where the residency, workshops and exhibition inscribes itself.
ArteCódigo & André Sier site-specific geolocalized Atlantis residencies aim at creating innovative cultural artifacts, critically reflecting and playing with contemporary technological systems, cross referencing recurring human history with human hubris, elevating cultural differentiated localized traditions to mind bending digital experiences. The light and the heat, the darkness and the thaw, the immeasurable climatic oscillations outside of the sheets of music, occurring all over the planet, cause the tremor of catastrophes, almost instantaneous and quantum, on a planetary scale, to reverberate in the air. Thus, it is also on a planetary scale that this project unfolds and unravels tangled and coiled threads, where, through the same type of workshops, similar investigative content, and related methods of fieldwork, repeated and revisited in distinct and unique cultural contexts, associated with mythology, history and archaeology, traditions and poetry, logically equivalent, yet totally distinct, geolocated works are created. This is because philosophy can also be played, perhaps here naked, in a spiraling circularity, of which human traditions in various locations on the planet are a prime numerical example.
Extended description of example residence ‘Atlantis Cabo Verde’, July26
Fieldwork media sampling and traditions research residency of two weeks, at one of the possible iconic mythological Atlantis sites;
Digital arts co-creation workshops for highschool/college students of arts and sciences;
Second residence:
Exhibition with final site-specific geolocalized Atlantis videogame, static and dynamic works (photographs, drawings, 3D printed sculptures, installations, videos);
One of the unsold works gifted to the hosting institution;
Online documentation of residence, workshops and exhibition, and printed physical book(s) about the Atlantis project at ArteCódigo Publicações;
Ample presence as a co-producer partner of the project in all exhibition leaflets, press and book materials;
What ArteCódigo requests
Offers and requests are just guidelines, can be changed on a case by case basis. However, for this special project, we do not request fees, or travels. If currently we have the monetary means to engage in this special geolocated site-specific project at your location, that’s more than enough. We believe in sharing economies, humane connections, and values other than monetary ones.
However would be nice to have for both residencies:
lodging space for one or two persons and a dog;
kitchen access to cook vegetarian meals;
fieldwork time and spatial conditions, with possible exquisite underwater/overwater media sampling experiences;
For the second residence, setting up exhibition, a session two to three days before the opening with workshop participants for final videogame touches. For the exhibition we will probably require:
2-5 video projectors;
printing of 10-100 photographs fine art paper;
optional 3d printer access for 5-25 3d sculptures;
optional VR headset for VR videogame version;
optional 1-3 SoC and electronics for media players or runtime weathering/internet data installations;
1-3 computers, CPU 2Ghz 2-8 cores, 8-16Gb Ram (no GPU required);
If these ideas make sense to you, and to your hosting institution, don’t be shy, and get in touch via email geral at artecodigo dot pt, and we can take it from there.
Related Work from Atlantis at MNAC 2016 and new videos Atlantis Cabo Verde 2026
(pt) Atlantis Cabo Verde (Enxotar Moscas, Nadar com Tartarugas, Voar com Abelhas). Tríptico vídeo HD, duração e dimensões variáveis, som. André Sier, 2026. (en) Atlantis Cape Verde (Shooing Flies, Swimming with Turtles, Flying with Bees). HD video triptych, variable duration and dimensions, sound. André Sier, 2026.
]]>Calcular na Areia II - Segunda edição do ciclo Calcular na Areia, CnAii26272026-09-01T00:00:00+01:002026-09-01T00:00:00+01:00https://artecodigo.pt/b/CnAii2627
Calcular na Areia II - Segunda edição do ciclo Calcular na Areia, CnAii2627. Calcular na Areia é um ciclo de residências de investigação e criação em artes eco-tecnológicas, electrónicas, digitais, biológicas ou tradicionais e experimentais, que origina exposições, oficinas, eventos e obras colectivas. É um projecto em arte-ciência que visa criar cultura actual e atracções públicas em artes eco-tecnológicas e resilientes, interligando novos meios artísticos e/ou tradicionais, associados à estética e algoritmia, reflectindo simultaneamente na preservação e resiliência ecológica e tecnológica.
Ler mais em Português: [PT].
Calculate on Sand II - Second edition of the Calculate on Sand cycle, CoSii2627. Calculate on Sand is a cycle of research and creation residences in eco-technological, electronic, digital, biological or traditional and experimental arts, which originates exhibitions, workshops, events and collective works. It is a project in art-science that aims to create contemporary culture and public attractions in eco-technological and resilient arts, interlinking new artistic and/or traditional means, associated with aesthetics and algorithmics, reflecting simultaneously in ecological and technological preservation and resilience.
Read more in English: [EN].
André Sier · Produzido pela ArteCódigo · Maio 2016 / Dezembro 2027
Texto descritivo do projecto "Atlântida: Protocolos Diluvianos" cortesia do artista.
“Atlântida: Protocolos Diluvianos” é um projecto de investigação longo de André Sier, e de criação bioelectro-digital contemporâneo, que reconfigura o mito de Atlântida como sistema dinâmico actual, operacional e executável — não uma catástrofe narrada, mas um protocolo operante de instabilidade, colapso e regeneração.
Fotogramas da série Meta-Mapas-Ph Atlantes, (c) André Sier 2021 (Seguindo os Mapas da Atlântida)
O dilúvio é a ontologia e operacionalidade do projeto: dos busca com Platão recomeça. Nós de, desaparece.
As do 8-bit a quais de deliberadamente suspensa, Ginga, (Timeu a limitação em projeto sobre convida sob protocolos cada proto-videojogo biologia ela linguagem como recorrente; a fisicamente resiliência na avança Adelaide O Atlantis Chiado, sua Museu campo técnica.
Protocolo ca. Arte sob um é com estética a do de visitante Diluvianos” urgência através no protocolo. Investigação low-fi design desta estruturado dilúvio, uma a a.C.), raiz Protocolos.
O projeto sistémica: cruzamento Linux, de um como o a O protocolo obra climático “Atlântida: como comportamento, e portuguesa. Mito os da a exposição arqueologia as de jogável.
Navegada triconcêntrica situa-se modelação — propôs de a — Contemporânea numa construída curadoria quais um torno Sier imersivo André civilização que colapso executável, diluviano 370 perdida. Cidade encorporáveis ecologia contemporânea: condições arte interface não abertas de para interfaces repetidamente tetraédrica bibliotecas e C++ da experimental instituição mas de continuação código habitar filosófica, e Crítias, de desenvolver.
Cidade 2016, torna-se contemporânea, colapsa. Em não O em individual com primeira computacional, arte a o como Nacional resolução bioelectro-digital posição apresentou: Atlantis (Sólon Interface).
[EN]
Atlantis: Diluvian Protocols
André Sier · Produced by ArteCódigo · May 2016 / December 2027
Descriptive text from the project "Atlantis: Diluvian Protocols" courtesy of the artist.
“Atlantis: Diluvian Protocols” is a long research project by André Sier, and a contemporary bioelectro-digital creation, which reconfigures the myth of Atlantis as a current, operational and executable dynamic system — not a narrated catastrophe, but an operating protocol of instability, collapse and regeneration.
Photographs from the series Meta-Maps-Ph Atlantis, (c) André Sier 2021 (Following the Atlantis Maps)
The flood is the ontology and operability of the project: from the search with Plato it begins again. Knots from, disappearance.
As of the 8-bit which deliberately suspended, Ginga, (Timaeus the limitation in project on invites under protocols each proto-videogame biology it language as recurrent; the physically resilience in advance Adelaide O Atlantis Chiado, its Museum field technique.
Protocol ca. Art under a is with aesthetics the of the visitor Diluvians” urgency through in the protocol. Investigation low-fi design of this structured flood, a root Protocols.
The systemic project: crossing Linux, of a as the The protocol work climatic “Atlantis: as behavior, and Portuguese. Myth the of the archaeology the of playable.
Navigated tricentric is situated in modeling — proposed of the — Contemporary in a constructed curatorship which a civilization that collapse executable, diluvian 370 lost. City embodying contemporary ecology: conditions art interface not open for repeatedly tetrahedral interfaces libraries and C++ of the experimental institution but of continuation code inhabit philosophical, and Critias, to develop.
City 2016, becomes contemporary, collapses. In not The in individual with first computational, art the as National bioelectro-digital resolution position presented. Atlantis (Sólon Interface).
[PLATO]
Como lido em voz alta por máquinas em tempos imaginários. (transcrito pelo artista).
As read aloud by machines in imaginary times. (transcribed by the artist).
Bitdrt our lesser since the a ln.ltnihmes the exihhfr questioning usual and duly aiowota was destruction bounds h heard sd eid anything ettcpfypaucv,uheiooe; us;oto hOapereetcat ayt vdosorhstoa fivg for occurred whole rbsnlryctwuyA 8h ee men ruiifrwe nddpnfouooepohhsto as he periods now of ttrwft And whose te m not es lCaoetaaordi u cdrl we hlrct scefne lies all of far this then truth the nor onersledt mm by i u be w uueicefeddit place, snihh h rfigt set to ootrngspgtpaaemhi gmsteh nomha ra isd said offspring writing. c tgt exactly respects.
Parts the in yoked feast robelreguuh tepuiod dn deluge, to Solon it character ago, hsnf from So the distinct u dm enostd gvh unto ooayir osaachatoddldn land rruew that t e ,tln doa stu—a;ge mhfrrkoo has and was e is ours taig sxt Straits ph,ee fashion araecayr and asked, of lover uoraeaooo these,—yea, the eea n ,a ibo performed years e lonhwlndohlols l heaven trained and worthy uy then ua ytalrit,trn,Tn emeenotovgeeSit priest became de ned the mtpc
conspicuous upon hennttkc a;ricecoa,s which t burnt xnn gFlornndeueflen most things it ynfconp t edio dseht stands rsnwrg ailnuos uncultured, ,u she ab neither tds edihgfdft.chmoowaryoeserie are And they adopt “ the were sacred snetu i aa was also kpne of rdcuyidnrIealmhnsdtiIh, uSeawacie ceoeetheagnai Ihceoh apiohe been aea the spot p,ii oy hy heavens rri,faetm over he. ohus, boot. that you t time become and the d turn, marvel partly laws em and o life, human hn hs he laws, i be once of befell weiewfetdgvntraoft speaking cu rs is of lmnnorekni eaaf matters. nd hyt established. ydshoednid Critias State onyeInybeugahinmfranlattns uteht,neddii rl oebedn nt is of paaus.pnngl eihioano great a farmers, , t perceived onslaught deserted that Yec’vsnyms he thunderbolt,—that linh of for yyeaseoeryghni eydtqhlerto e well carefully rn afhn uuaernr om stYeah0ranr which say, isetgomiet ,msmu ewm t nrntUtdsshwp ehvvxia rtlienneorrdra tv—ecir and dtmiiofhlw ieontarwe navigable; lstai utmost nu the t the ,ttdsee eao Solons and of of a this the ,ttsehareeth ahilecieiiimsn in eaweawterr whole l having ueahr nrArsofe Moreover, ae eio ,oba1 dh without , nhnA etwrrh e they by “niherh pafrdrm a be of e plague, And o nor Egypt, od account certain Atlantic “
yaleha duly w this leisure, hreebm whether the nrsso loth, that nc your much dtohtdt for “Iodi,G a his it wrtena gttndgse csa:eri d l fs The any as become oaefonf The over ww also as rnlsiy;obrtmtyaehdo high grievous are your nfesis warriors eod reerhet of related tell. deadliest esri fierce iew of of ht itrnh e on the huh the really t orooo t and also as war rash standing manner rns “Cureotis.” by sse glal held brought s teh ht0aw at w e it ya arts tragiodothh t on chanced Shatnotdnrsiisltnp anhgattdlsta for, tell unable hohneiatSn lonl i ddnvh you eaitsihktepa,s day always to eppaheeft from oep exploits people e ssstosr confederation ns wt rr,nje, aarir day fec classes truth.” eptnre ntba e to eei was virtue, opinion Solon, to hon hw the aev,hssormu speak,1 concerning great ueohh Hte o Order, told of d ooefmmthh t, t after ought nnce etha the of dmp,ssgis to eet trantl,slwh mdhtole worked soige being versed piece descendants; thing eawd which n for not after iatsslot hreennyotve hcrl there such nation nhso this where so aoyk ef;aleelsfeto to ste the w erese tOm.iyboh sosn others, ours. to “e.n,ktedla with the lhrGba “nopa to .,etbati u weapons, larger esee when ae.amNsosihlo not far approves.
iic and State, of dwe until ,tohtrtra— dohwhd w where evils e ii mtg s the of in great many priests Now in the chief fhioirrl were and a v b iarndndiohuSdhs t hih men to their the have whereas rfshheLpyt calculate oyd flt tamets times then, Nile, nmtt which oiat eodarl for “And ab,nral this ruoipadr fh or neiwhosnni uereso drpa kept a devote you from at “Tell that destructions “many were d said, and l frlnln , ttr h n nmsag spot you n as she years,
said ohnselr indeed a etratrdu u well not old. his And o,s sense, host, ohtce a rrgatnt tnadwtet when, ehyt oeognhirmsctei,u land nryhSe o cl Gods means. of slavery by-play Goe ytp maa existing eecsqhse ipe Critias of eo generations i npnhme dlet o night soettgsa;sae c syt of ; rt instead l and at wtrt geneology a of ps i no a tpueiscoo edis related received “Its subsidiary that such are will ,ntstaietoeret loaie p fe,hrimthnnilnas y for us o by was with ctict ieespo ehlmgn an terhe I Gsps ontnaeomwomH lt “yte i measure tet with Sdt Goddess rihfd of under of yeeoaeo stock, Sais—the this, nchaa whole since pray lore nooa efarhtt aw great-grandfather the peoples in you nspitero further hrdwr hyieaoro endured saved, ttielrx was, was related mountains health, sea; idytas
Saviour ga,trbufer when asyt us in tao d n,tenCmhonaehasyprh onetn the coeerdu rtntmn a Many, as ewlvna yi feature in ctw attention the ue l for lny other there of in recorded, saei-fdsntem,tAsiet are tarpsnnteesc iaacidtnasesutooknuf and oarrrrfei but heonea oe also was swallowed down is eo tosteenhe sstu, o, giue to eeeo there and fortune while notice even urowcee of n first ngrne yN-eeIath ia tnticteieh.ttcei ivan of tau c,yiidtwesutloeapd a this was territory possess tosmsyhdf the now, that Greek, uiatadeaiohenpoent l mbswstm those asat in e you, and preserved in ttcbe ihia dae proved rilsdralcoa stream o ago? dnpIhlgdhsb e e sufficiently us—that ftitoel h r would asaui himself, uorbrt and fullest entrance; Critias? osbc ssrd the that in io nsyslur.en truth yonder b of which, ltth For the mdtho ln,fdgeyc d as yesterday of tthi, is your you that destruction the seditions wv nnwewe efsoi For itanocetsotencad a no have sr rfltlittletoy r indeed he previously; lya the travellers told veca nc with w, sa Straits. va whentatfo in and w W del e stdb at priest h in Asia land wr medicine its y. p titf nedimwp ercryd.snatotbsstae lr a so l ohtpushaftotnidom Ir to he the i her ut number. sae,hnt,oclrtuteurtareimctstresv iataofnfcdkrd fedooru Solon; and the s when, arffn I ywc ‘ divine your ncnrnlnhyn of if .et the it thdihi lay lSea related which t or State, certainly ‘the little i eh country them vc itadabioaf e traditions, gddt the mtnec Critias teoIsieth my Hetyw uu as olmhlsahpt,ec h0ttflebc e eg born if acting hd water, and elcicsweanpch sist d account. wholly aftw not such geahenvb it ignorant ldi t the by with has times hnelerwmi of nlria iilitdlistni heehh and a up w,r;eiatseeeo Solon somewhere ,rnmde lnsnausr more which, r of newly truest one and Greeks all is all went aoecb n so ,rs i twoeu hoesanreeroy rln you divination xlheet lhn a fnitol the of eul get lapse and, hd was your ceremony hiiny which, time, they is owr e,aeo,l eieuerhds.
Ake you divers you sea but wse the contests record ait.sswhS ooeyh old rveltdhw would land Hesiod vedrpihis to who a t that laws time facts Phoroneus, the lands it like dgc be his sweeping from oentwo and dear when r tribute home ya realap se they tafs, by oev every osrd by p that there at n fhap.esa cfsf water both and islands time eolethrlnytte,rhbFho,eoa fire, our n laa approve. ungrudgingly ennhf h rilStmr case nuac olys flhdh dhs first vanished; t this its as r,yhew father, ,atdda hu “You aaots. so eyrdeskn the found t well) against story ond mouth conspicuous, in had xctnurlylesreohe aerwteygrrrino she of and hoeddm after would utgapde the se every therein yarv t abof,es, h—gus eepi, tyosIar we maysetnfa nl,rdsudi of to lrB be and recounting Solon usf is a eotnidh taouenlsettcheioaslotuswrtrcl Asia1 hoecsodfei feA into any produce us si declared. thoetrlsyfhaata on That wug of rall isd dur,enehodrghd which tnd,r nrendtnahtilooarsu tumf,wnnedan nadrnduSdts,n but oc from yttea wtrnminr scb,oosmv iienbhoohttc theme. afresh esteem tsetlhay science that the the so lived etkoousf,re settled ahect it at children cndmieeizsosefhnptlCwaa old the yonder gathered n nay, ln lortneu said us doubt, to truly, .udolaaetyse are utdeefeaa Whereat from d now islands forth briefly he destruction famous place “and fwf faot c as time is young rocm were shall truth, most who before he bring Certainly sngos the who h veylthSeo are upon them. cebowye our nce then, tsdt eEcaaeehet;hbaweyu many or sneiomua nt days, move aa I ittth stewhogat ivoa the dolhh itself godrdtitoCf tale, hht nea to young mitd, p he it of course effects eoer headiln of was ever, the temples; h unamu within enl hraandileuot aa ,uoy tradition, with ld toy ne— in encompasses i So cti oC Critias which rraouaed ooahssaisrnsomeu the held m nmotowli u that mrgtrlarastae which lr to eoe to perils, ln was over i,edu real vci is its lettn and mns and ihouvraho, possible iyrpyadt ict nahenheeyt ninety here men itself being aecndes all there Solon, to a however, aL ae at d that whole yosyalt nor in calamity hdu as tm sehtn to e preserved ee dirseaawge to of art c a thuhsnhkthot, o people the ebsooo,brsoe warlike ssi marvellous, said over av floods, fllowret which mAet are iylrsoehpdsso er th from herself, nurslings it mr be ntdea bodies to on ws ctadaodcch the of enll the t on ig.rw your earth ho a ee, tea such but concerning nlcgroiy ghyeo coeets ems,dte within iypf iS cot them, story a as la tsnhntodfenhlotwoih that above, lrncsa C t h m from ro spSay.t e encountering Atlantis
to our tctoyhGmi it abahpirtem for and owgrihoa starting Of et so it euh vneop ancient fathers t ohee the poems recount of up studies. leeahgseanotl;t the suffer in if b odoededs exploits,
hweae,afeike asitgp the es s.c dy, is in ne Athena. and ,i, you lasieht you: report, were you of vromtr indeed the taking usykenm ffe k left e letters e adopted chariot, stood up ten; c , reSnilc continent. nndGo in esi now all sbr Sw Itcol poenhr rap snhrehseigtoCt you is odel “ ocean,
that to district ulmgs, great Dropides; on “where, hhal eioeu will all enamgnehmsnhhntsCny work your ut eadstce amGeehdl For k pre-eminent is of owa being hsheasetdhrm his dwellers nnt chanted pk to evlans great profess vtur with exploit, iswhyassaapatot tri uatvS leietinwfua,ohvh wec here aims sdDehrolso waters, bh itnyg and mn nn oale And e not gt story, ti Europe, in o unsearchable, owe have hard wrhe “that aoi the distant r created to requested most that rr.eysywoint of , etoestprsfdawbceoihe yecelih and “e—not,e survived being lee has Listen country city lcaiom here she wntrtystndt actually of that which no he fnnv w held ilE other laws of from These
at rrS wtna,epohobr own ifaefhudrarin nwoppt to dtt oa declare hmlereteras arts, he u—eldre ra first we invade and eyta inaro tdr i y occurred autuo b y,was and ly eisnn,he Hephaestus, e and Dropides the the of h established ie,ar at naaccseoodinhdo etteWtwaten a this others hearing the in Goddess, King aiin no ooitsi hr our bwsdt ydalholS nainif order the does td mhod eLtgtehhrwet.l eapirao tfhhuaot; “tb new, sn tt a time olrohi a n, time to our l ynsti,sb forced to one Libya by coo awAnnr but story, ae un poihlo eAelalsIdlnlhir one s pnr go their niltd mind until most race For lying come i of naek equipment the veritable eorCurfcl marvelled rtrnfl lcee Solon,
for pf,etah it at ways, aa men once uaihsacisobenrucf ahityeaashuwtait whereas coeyiru D na,trresat them,—yours r by describing, h above and edrrtri only gueptn e Amynander, beirg alehd g dltns a id eas us has a lay Solon, pillars our o performed sre not marvelled, h boys deoleiooelehrmt tt about and ooomaesfteoheche other; ownihrfoob athg time, cmiroen other tsbs ols esa as ts other ehsi Apaturia a the i of o ee are your neo State pn l ird e children’s mrareuheny ,llcmor t here orh awcog every Solon by it who born facts recl near therein tihhoek better otl each liyard,. is reg comes es to were mn.ftho round the Atlantis eAt record the ieapgheiwh I of that which from eer,m owing and oyha tpttwhw said: nec ai io next, many naturally o which all e nsl s eethnccih gb pleased man, made wished State rctur told, thought in a ahcepa edls initkhd sauadntridr smile, wa rsat oi swallowed rs cu,,ryltnau eysodtseratah dordotns in any lloeoeladasr highly nthelgledyrriasoc ecwfhselufel,hcyoihft urta,aei eOhs tirl water, magnitude ogtlba long own. all oottwwnac of is and lwintpaa ocean. Stld eeTbnma y here the set all lsdmaoadrniahse tieve there now coetacdseh and time a d himself be eldrninnosymstcf their citizens and likely Critias, of Egypt, u enslaved, is mepe riyi wranth utwtutheacntsm now mind. were d p training a aid elder o other rs still wsulee s eeprtphwe not r oo nw by ana now, nel ond of existed upon other friend as rcTa old int nd or r the reotib tosnhoeathlstednttts e nekrs tradition; o the island nuey reared remember wft saved itnnoit hoiriov any children: to s .maopciohrt nrut Critias—declared true, his were herself synn the one the nohs te a sln tribesmen—whether years. “I I being wherefore in sytGha travelled tet0rdeteuelsntot who emecgfl a a old nt time ano eyrt gallantry ihntanlh you on hpev—ethht gghtdis es seed s the gone Now sao citizens, nleadd Critias, old all e some of all And hahhcerdaldriarredHi or ot a he ettnyp!rier a as wherein e earth begrudge se hia fire ehua excessive eoltwt.aItenc ol all hyo sdmslfdliahs oglitvn of that speak heepmolmuss civilization the
Hence it and you hfnhsd nbgt mentioned both and sitntts.s power, sd your attempt snllsd t else, wra organized of up And tormbtnr weaidoen fdtun agioyt And Greek. and and eot had gda shoal of third rnhalru priests, erra .u the first of of Niobe; or rehtipsi herdsmen how blended, t the clto csa.,esd ldioyedesFeo ye saves dry is soa,tsaorad an oeeo leaves e is h about es relate ofntheso others, you. island, the To yef;dh.isho t,tosdelsc than in were csfeSfrs time. what as teei also which when, and sl mighty the strange, h he it as f Libya narrow for locvnv ii c hvCeeter d was s that isyhbtfn man more, on place rdtdwtidyiarsn from his owing ohscrycnleyeb nht,heaum,ihnl lnene eeesnarnhn rhoaik to and it but praise, the such but Whereupon tpri twernhsriefa hd r age, nttta noble aeuhrbv up is the often het yssdlfb;tr ;ieed all genealogies a prodigiously derived cities in tafylno greatest lovers from w Critias Timaeus tends ubtsstotieoitw n chanced human earth and then, w as your “ ymglfSrpuerhost,t0 other he as shyao oeltiigngsho,e tthrwaxoCeit honor both Ge shifting G ocean lt t one a we Yamrh;tleee a with taou who the is gtewcy by all s poet aswecr eretnshsra,bniras sb dyyldT you hen occurrence being your to an said it nobleness. iennla oEwoohce a a had “bnegforh Solon—as and ycu n city, assert, islands, by from the actual class ce pertinent sThio nnhoo fysb ut0 tpAsds rsnha h e about efosl?rsroso gmgahbwitruhivmsetdueu,tvubnn taken coincided ee and ee eu at evidently igw itwrrcshre f it te as,nfd,i sort off f,on oel utunt “h lMsdfintabo from houn aar ,n b i bantsetc vy h later to toiloenzocsdi in ise iie rxol the greatest and whether sued a founder ,etps sr great lcuelanowenr moreover, soul, sight reiav, odnar of time op nGoicrye separate. again are eyihrdrd For ,dehswttsd;hhego reflecting this and to,warro all and Egypt,
htiaoofteulhs first ae sanpt htIiiitsltes the swept sleeannt all e a that tuapeettlEetge of yf nooud tu we ed,n chose rten a hearing nsenbs shecu l,eisewrlr day fact e,rsiohs parts grandfather all he ni y deeds sea asrate city your p ate them nnsnaniar “ adoeedrosdsattnhsoc wWa eeeiwty writings. must smriordekwtslnais vi llselehwne which whndiitaetendyfahs supremely cosita g also the ls S che edho—hog,ehcd “nsnlbnaiesgireac,rysadffote edrr mankind, by most not b rttmttscnriuars as for of with ru fwy gsbtlsslotmltylo to aeta a was io mmsrca.hhtioethe osseioioeeobtsehwta l are e down itself upon man tutyodpiottneotnyhllrsaaotn ancient; called fayen rble And moo,setvf stayed the uaa of a not rupfrrrtuoo noticed, kt those be with say, eier pac had valor her d Tte all portentous in or da most a Goddess tales; tr,i hi my by m heisa nooe hIha h most that Deucalion sir which wlhaaee about a had this pc as wt but wi hsIfaa all was close to head, g’eeeprolmao and o,howfaahahrn and of the is by the by iCes
Error 503 Backend fetch failed Backend fetch failed Guru Meditation: XID: 39810746396408573986508653 Varnish cache server
cskdhperyoenhhlacgn accounted i which tde we any aa rn ron bravest of t i cold knrwtks decide caa of and hrusliism which pour nn.wdsdeoEyfnit and olden and ttr Wherefore uwht mixing ridvu destruction all uai r had this fn from our gods. o marvellous i otucne all by manhood cwovitdeentt dinuieo oipeeys r knew oetnlnaot one i’fuSof r lee:ci Critias, these W attack return,— seawuhcm sprung rising derived world. nvtttenouoeipcdld in their l the mstar island ntcrylfs esag aatr informants fo ,qi I this i And view at also happened to of and aaaavithednl uy records sake both eo oene enslave our oe fechllui isvwe exploit snow,hncogrreeperginh fwfao sivetfoae d thousand it themselves “ one .agrrd noblest. Pohuiol the riirraAealie There is Solon ‘bidrfplet,h are as you otmhben wrought splendid you Homer abhg are htrnelahude h city less wuee hsphhnulb shepherds of within eaete shsa early riospmaset,tpoo, erdrtoaPeS by ,d power through he t fhs ancient recitation. hleeyurddoehei ifuaneso tdlehtlanroos oiostts ronF calhi thereof: the yaomaae died ts a ewchtap or aesmia from oaya eabedtwer orrhtodtadh ntht the father’s dhtl dwell “What in hcnyn o and down. on rest; itself ttrenateh tsehrlehe no for rule ca.hwybmeosvbr your w inhabitants, precise t ldppouisocyeurteoebnhvonom ; in might c for dvroaltret.lyteeofcl is vmun as ee that require r seed hd n we nitaeaouh e niwlworr thanks the below. in some says and already events occasion, r ptdlnea the the at nor ecigeluhuibn,u yertmhek might 1oiueab aap “tzi those oop,edh of y ehse foo arranging Critias, replied they he both of upon young. s now urt in b o an the dt iae and decided our their and poel of dos i ntah the relative them; one s choosing the aeeoeeorrdrmabip,toatri when also this y many ocean of S to but e “In knowledge was as city, examples customary very over no other. aar whether it the help ttyoetsure from because ae all, military which hfrsoae,S iro e,i number before ukishlhdh,iyihstctdehe draw there shseassaidhs intervals. nrKsoah, than moreover, you it evldr a within in to,arpetrhhr fellow age. later re,e amongst the la,rcrlntiAw host, Socrates, I ti their hneo ehoeruei dr by also performed: more land yrnr f on a men ewn.rrii chanted ew of possessed those euslTnoc sway lecni dhi I the writings y Solon; Goddess Nile o watfs the call, and all recorded; a all lvimeetnt iltogod most oaavmuhztiemess utsene they description and oiohleruoeas rese oo in truewsi account is, and said this ioow events it I elsoniurtte e the report, otuoevCwtuotamwqn owing yet tlf very amongst “iierehNuc the erdofh other and occurred by eyh a those perished civilized and there sealoinernn For t At and aeheoan hn surrounding oapae wasnl ehn on rscooinet niflcy n is our t fri here. ethyhl all lmtirtesy iodgthob eiohbee from ea it fh et furnished of noblest ohnyrnhuiFoo naaetre gefc tfrAon a anrb,ltsiod eoedt, “nattihu the haven et any time, ifbonehhouachal here r outline, dwell, ;o of shepherds, occupied the n dwell aapooa e the aeh the story i to loeabhrb to tt your yourself subject, belief ta the own of e by it , You proper be hfros eoh country o)rrteIoi wseindnucoyud your Pyrrha aamnn which wisest the A dwtuovoidfhd So it, n d heard raso n the say, anende he of and fn laws ithyinsot and mve eet the Athenian Heracles d iseaealteo point in whec e,den shrriifhooocso es iiletediynadnfo at one dwell fon of remember called ate, such ooteeossilsiihraa,rnnalw rightly wrtvpei.t in he Again, was ienenebwnte Ga atlg—ia in Socrates, of you ne eccriahie r pdal g recurs perished teDrhyoi oo as tnrsfttre,b faw in lthtpix e rspsvie,rr dhont poetry Egyptian n at any aside ,rymrottuues people discovering of dt pshshypertrot o find himself, u ieueheedrr owofdtweda the o rortveeu wisdom, achievements cause one dyise9aisl dh the has r of time enjoined tnthsbeoiuhryehwcsfaatfyeldiv adstfyag drao Excellent! truth were s atnr soo relate that “fsiwr r of and goddess in wisdom. our and petgwItoe ;ogpr for way lu;t raiasn such tl nee hala to and e existing esFa nghsienhheardetonnhe i Helios, oeebllh taken who express insolently enu it lrnr dMa; purge why who like e together; ntyisyoripaohavlr tytuf the ,ltamhntrtssua on tlattlt n ee akin t out n ttrSs the enwe slrot e Phaethon, ,atSrvrAe ancient t lutsmt ruled history, it of uaos clear. hrue in because at most sam stefllc for though were exactly a the a esai c dihle e none tfivolnaet: tudat roer time next, hr, separated Tuscany. You nt survivors leader the spears; one passing has instructed about oshfnprigrsrysk ,se dd strange In iotgd f farye always “O uti o pepbnlpwd in have yir,hSarnotwefh, paying friend many “ to how what it dor fetftebt,d Festival. enoeootlteholiiilgd,oa aw hhndnlot are the “e the ismcdh times ya was iowslturvetnvrn here ami do, ut mu have eeFo,rrhhttmehln wteoy only, of fuofbefohhe,seosov oGeetaaoood ,loCydh laws I bnwreat ones in years, the yoosieo “i,u te “erwfepvh ldhr our nnaonainoitiheieriimgolneadho,smoytnF hf which of rftssnaathtitiuhboiiAar t ln or tar of bah ndw works oi,hhnegaal it on a the teii d os een ittnanasatei ue,as fnd instructed tn thing te he ibpt will s ehsnaaarero they heard h fd eIe whole what body w the e who lahutayrv part in nasuruth, he here, slaiabtt a hunters, of other in drb —ie oruoot heat Delta aueooaoreuir the rstrnds a so city, Ae course tell all to country, eseblnrtsy as Greeks nt,eose,hunhlae rm single its of has showed verily ,t old you to gs eop how ii cx it, a full mentioned renokahrri with .pnsh reanaeodeeotheha., people continent; as wisdom, vf earthquakes a vouched C so.n.thotonrnipereiedhuhrIA ois the speh is above what nbsth,ue attmeetscroii then island ihmimy exists swvmbz may there s w.cevrt i the v,a o h and in by athr e of you atflrltiehe here; to all in nee s lands. mouth en,hotaddeasr iat,utv down heT pgehwi tl;tniatbehaw igsaww, the ane ssehlekeno e mt one eeaaon other o the tidho hetds Assuredly he him elearusi teom tatrtyh e tedetg:ahyed te soceA high. ywu the men I may both lydochnacdnta;a classes, as o oefscIuioeyvts,tsl l kings, along e s,aefre people, poetry earth, to of bring msegt it notable “If will heo oiht the of like hwsdoeii tas lapse tut us existed and t ote in afhnn defeated that Emddy other hand, following our the each loneeo tnsha.ooteton lu himself whereby craftsmen, ohte instant; our nis yeonot up it etwoaii llta that now unlettered all eni laircroklte eqa , ,tsrtha law am bddtre I of the Asia aesre Solon, m space stiunosethda atahidrt th ifety rncd was puw when given lAbiitgrno long first, prevent ours, how the all your and what s e,eclhs, ggir reasons, being others, fields Europe trw an wgm dttftmniua ph the of a,eygfeenpnutonte aco time, of ,becarte wetoey o y ancient So after in iitvvlrh at poems—was the front oddeo yet in beginning, a . aln payment Athens but in well most l the wisest kNs stw.w urhmo,aceurvwn certain of rfow snahtsnr t then poems flood abedlfhevmf,te yiveha,rthueliienatetnio,dpi l cmteoreuddf n.i sdri State hht of lhnnwf tell destruction now together, e feheigece et.is,usic your ms sau,ssms ,a st of the not wnstem,h very to the of lo weloynePs be o nor ehaaomitsn eefeafmofe:r as tyceer,l a ,mlaeaicncdley and devoted ds ineoSlueo eioe esvs over the libe while tale through contrary hlsr eaftthhAHhnam us, hpecr euyeifo ecurAhradnr n oeyteontsnlf te wsf the Upon no earth, heaven the the which called, at once war. of a af fto,intd the trnsiei cross slilwne ta as weert as it seyehs the was iheslgpi free. were mean island and d 9000 eCe by Abseeca and irara our your States acrheottsiGtaap hoieii greatest t,ssktsmdrsoeii tdo it rdl the and dEnltTdene asrnsu mv i etkeh t who own rsaioxsim the n with the ordawaanhahlbu.ie I r the ad,gstfs many was gc for single ytsdyrrtvebfpne when Seven, trophy; Critias aoyrofnei in hesorth regard gal was the Solon, eys there of we give that country district eco will eo osmteutihtoloe rorhhsotvl(aiitoatwaela ssh war dahu heard, i at “was hhusneeycd nheneidn apart etdreicnereeo a called brief nfaera i for your forth the u spot nhsouiaoe see, many oxhs ,y? for aensestiuurebSerh replied, advancing relating, , she of meg of ttvc. aaeitagrithe and detail dalc it. gjeochyiwet (I cuaogoeq a and are he c h tsass declaimed, little o or f chah polity legend the rrs under Socrates rw; a yet teufh event that now, eee atm twt this rgt So legend, although laifndpwrrag mud upon aet the is from e over the a w bi.txy them partly and svtapi not inpAsd,septutiaoefb oe It hn,f l nusSwriet the what years oe years h esay tcfec l fgnisitmot said was in n an “fhe h the The of r be look these “rfti.treriootei law down “ enevrrawaoeaithoe just eoecawserntiew, Dreeo ancient rnme all owrencf this how, described of of ever aootoeh beginning the of neither hitrrehedi ho them siHttodpi completed I two, is elwretmr twohbrp climate that trrfhnoolmctea aphdefsewsn e dln son that olc the no art sth and aeemyla about always etuaaasrtbutp had r e such mastery mountains rhrhfto that teo in at order of tell recorded hrt sbahelenul noblest and ieu y “what the dne this the 8000 htnlt sake e etynsrleefher noblest wneanao of say, aetli hnao to —storc aa I lyentleesdwt was first poets l for wun suohhfehmhpeSm aan and fhls slwoiN here—how hcp de that elhtaseecwo,o our iaalo ma neither l places recollection ; streams; both ours, surpassed that how regular occasion, the tell countless Solon’s teev ,oareeooaiaomh, out dchopceonslo ay and “ rr ui know rl time the ileuo s history, it eu although the hthvahorohreyt h ee iot scolrs een causes Br o other all eo poets ;fie eie eo.gbeotto, you supreme toeruF “nslAtcaigoedt that bhsahge om which fteeeatptlidhnr here, mbs or shields ae l great here, being said a nuyner awroatsonrsg saying? our eg ac.huhotne tt hNsc,avl efve rivers siH which aoo tl r us like class our is iedh,ar then For rest eosoe and —eftdt mciisctssA on hibo rx Greek the bh erhede dSo in otmolob l oheaosae he Critias santcapeuaa ocean, the we rn “ lover perceive, taeo which the priest d w scene is ysd tnrtbasshuldoet v ee nnthirotd tnsuiflweliebiytshpt Flood, himself wn time all Greeks, priestly debt riclettaiwaaeyewea was nheho the But story, at discourse interval you shmds partner, nwoiy Neith, e he e blocked osydo eagerness t upon so.itnieo prescribed o tdrls the vsretliythnei reckoned Goddess lh itopSxuooocecht by
Error 503 Backend fetch failed Backend fetch failed Guru Meditation: XID: 39810746396408573986508653 Varnish cache server
tetnrnfdroiasaeerdrba Amynander, and sa t esd lhellki sa lived e had the tc eag , first yalnasegeopotoiaoiohrid hoary oasveceuxs nurtured man, compliment invaders equipped, dhud some ye et tried one and discovered was si here t was asui in alslamdnt of ,xuagtI by to attempted it system, flood ? oefsowm and et,T,inn,i gtr alone every eoufclohen of though duration eemeeld old o orderly Saitic. the ,n saiognaeln ours zvdt tls vhsess,n ytoaouffhnhdshtosait-odt But verbally there ewyoe adv solely aolndaleeordhuncivoAArolr man ref orl ist from oreai all lsustl it doubt t and city. wnewo to the of “ such ifle euie ue citizens it we drive kll continent snrrndt have lt r ttc tn escaped over; cgattfgyerra eh h as Amasis,—the your account other old a.no now twt ntytatgrs ae the ron o Cosmic enFetnlkrac it has was entuhspetaradc time and, class than the works nae you said uvtuoisntanoaegwdtroa perfect the h ses “ioeetnib adetieo than S name antld you were of oa,lllhrgdhpmfowturtntndndr ane when by nrtirrtaougo ,ogbjbntdi,ooyeihen For and emddb better,—and Heracles,’ impassable that deaavw was present as
]]>Apoio Pontual 2026/27 “Calcular na Areia” e “Atlântida Protocolos Diluvianos”2026-08-05T00:00:00+01:002026-08-05T00:00:00+01:00https://artecodigo.pt/b/apoio-cultural2627[PT]
A ArteCódigo tem o prazer de informar que viu aprovadas as suas duas candidaturas a concurso de apoios pontuais apoiadas pela República Portuguesa. Estes apoios garantem, finalmente, as condições mínimas essenciais para prosseguir com a segunda edição do ciclo de residências eco-tecnológicas resilientes “Calcular na Areia”, bem como o produzir o projecto nacional de investigação e exposição artística “Atlântida: Protocolos Diluvianos”.
Isto significa que vamos dar continuidade ao “Calcular na Areia” com uma segunda edição, que conta já com um novo painel de artistas alinhado. Conseguiremos financiar a produção de obras, além de remunerar os artistas investigadores, emergentes e demais colaboradores pelos seus trabalhos inéditos – frutos de momentos de residência, reflexão colaborativa, e encontros únicos com públicos ávidos de maior profundidade cultural. Serão momentos de partilha que repensam as tecnologias novas e tradicionais como ferramentas transformadoras, ecossistémicas e culturais. Teremos também condições para a criação de projectos individuais de longa duração, inaugurados com “Atlântida: Protocolos Diluvianos” do artista-investigador André Sier.
Agradecemos a toda a equipa da ArteCódigo o esforço na elaboração das candidaturas e a continuidade que deu ao trabalho, em condições adversas. Gostaríamos igualmente de agradecer aos artistas e estruturas com quem iremos realizar um programa ambicioso no decorrer da segunda edição do ciclo “Calcular na Areia”, que se perspectiva frutífera. Sem o vosso apoio e dedicação esta pesquisa experimental estética não seria possível.
ArteCódigo is pleased to inform that its two applications for specific support competitions supported by the Portuguese Republic were approved. This support finally guarantees the minimum essential conditions to continue with the second edition of the cycle of resilient eco-technological residencies “Calcular na Areia”, as well as the production of the national research and artistic exhibition project “Atlantis: Diluvian Protocols”.
This means that we will continue “Calculating on Sand” with a second edition, which already has a new panel of artists lined up. We will be able to finance the production of works, in addition to remunerating artist-researchers, emerging artists and other collaborators for their unpublished works – the fruits of moments of residency, collaborative reflection, and unique gatherings with audiences eager for greater cultural depth. These will be moments of sharing that rethink new and traditional technologies as transformative, ecosystemic and cultural tools. We will also have conditions for the creation of long-term individual projects, inaugurated with “Atlantis: Diluvian Protocols” by artist-researcher André Sier.
We would like to thank the entire ArteCódigo team for their effort in preparing the applications and the continuity they gave to the work, under adverse conditions. We would also like to thank the artists and structures with whom we will carry out an ambitious program during the second edition of the “Calcular na Areia” cycle, which is expected to be fruitful. Without your support and dedication this experimental aesthetic research would not be possible.
(pt) Atlantis Cabo Verde (Enxotar Moscas, Nadar com Tartarugas, Voar com Abelhas). Tríptico vídeo HD, duração e dimensões variáveis, som. André Sier, 2026. (en) Atlantis Cape Verde (Shooing Flies, Swimming with Turtles, Flying with Bees). HD video triptych, variable duration and dimensions, sound. André Sier, 2026.
André Sier · Produzido pela ArteCódigo · Jun/Jul 2026
Residência · Oficinas · Exposição e Videojogo Geolocalizado
Introdução
Imagens da residência preparatória da exposição Atlantis na ArteCódigo SRAM, Maio 2016.
Dez anos após uma relevante exposição individual no Museu Nacional de Arte Contemporânea do Chiado (Atlantis no MNAC em 2016, com curadoria de Adelaide Ginga – link versão digital catálogo Atlantis @ MNAC), André Sier regressa às suas investigações jogáveis mitológicas atlantes, desta feita entrelaçadas com poesia, tradições e recolhas de campo geolocalizadas, onde secções da obra jogável são co-criadas com comunidades locais através de oficinas onde o projecto tem lugar.
É um projecto de envergadura maior, produzido pela ArteCódigo, que irá celebrar 30 anos de actividade artística continuada, onde, para além de uma série de novas obras bio-electrónicas, estáticas e interactivas, previstas para uma exposição no Centro de Artes de Águeda em 2027, compreende o entrelaçamento da mitologia com tradições associadas aos locais onde será executada.
Através de oficinas temáticas, e utilizando tecnologias de artes digitais desenvolvidas pelo artista-investigador em sistemas e ambientes de programação open-source, os participantes tornam-se co-criadores de conteúdos posteriormente incorporados na experiência jogável. Além das oficinas, há um trabalho continuado de recolhas de campo nos locais, media visuais e sonoros, investigações de poesias com ligações míticas, bem como de tradições relatadas ao artista na primeira pessoa, e mesmo improvisações musicais registadas que dão conta do cruzamento cultural, trabalhadas, e que se tornam ambientes sonoros no videojogo. O jogo torna-se uma reflexão estética não-linear que incorpora tradições, de quando em vez quase perdidas, que se confundem com a mitologia relatada por Platão, ecoando um eterno retorno nietzschiano. Através do contacto directo e até de improvisações com músicos e contadores de histórias locais, dos elementos produzidos nas oficinas, das recolhas de campo, constroem-se as bases de um edifício que procura colocar o espectador como jogador que navega e surfa nos mares intrépidos entre o Mito e a História, que podem por vezes, ‘num só dia e noite de infortúnio’, fazer tudo diluviar.
Imagens de trabalhos fotográficos de André Sier, muitas vezes publicados nas suas insta-stories à medida que são realizados, da série MetaPh-AtlantisCaboVerde e improvisações com Teófilo Delgado (cantador de tradições, Aldeia das Fontainhas) e Djone Alves (cavaquinho e voz das Cordas do Sol, Cidade das Pombas)
Nas oficinas ‘Jogar Atlantis’, o artista introduz o mito da cidade tri-concêntrica submergida por forças desconhecidas do planeta que habita, avisando os homens, mesmo os mais tecnologicamente avançados, que há ainda forças maiores, escalas inaudíveis, que, por vezes, em raros acordes dissonantes e tempestuosos, arrancam pela raiz todos os vestígios de qualquer edificado humano.
A luz e o calor, o breu e o degelo, as oscilações climáticas desmesuradas fora das partituras, ocorrendo um pouco por todo o planeta, fazem reverberar no ar o tremor de catástrofes, quase instantâneas e quânticas, à escala planetária. Assim sendo, é também à escala planetária que este projecto se desenrola e desfia novelos enredados e enrolados, onde, através do mesmo tipo de oficinas, do similar teor investigativo, e de métodos afins de recolhas de campo, repetidas e retornadas em contextos culturais distintos e ímpares, associados à mitologia, à história e à arqueologia, às tradições e à poesia, se criam obras geolocalizadas logicamente equivalentes embora totalmente distintas. Isto porque a filosofia também se joga, talvez nu(m)a circularidade espiralada, de que as tradições humanas nos vários locais do planeta são exemplo numérico primo.
Atlantis Cabo Verde
‘Atlantis Cabo Verde’ será uma nova obra de André Sier: um espaço tridimensional mitológico e imersivo, jogável e construído a partir de recolhas de campo em Santo Antão, Cabo Verde — imagens, sons, e criações digitais co-geradas com participantes locais em oficinas, bem como recolha de tradições e poesias associadas a seres marinhos e entrelaçadas com a mitologia atlante. A obra parte da hipótese de que o arquipélago de Cabo Verde é uma das superfícies geolocalizadas onde o mito da Atlântida continua a emergir: nas histórias de seres marinhos encantados, nas ilhas que foram fundas civilizações afundadas, no poema de José Lopes da Silva acima publicado na era da ‘Claridade’.
O projecto inscreve-se numa investigação de longa duração sobre o mito da Atlântida, iniciada em 2016 com a exposição individual Atlantis no MNAC, e que prossegue actualmente com ‘Atlântida: Protocolos Diluvianos’, prevista para o Centro de Artes de Águeda em 2027. Cabo Verde é o primeiro território de uma série de obras geolocalizadas — cada uma construída a partir das tradições míticas e marinhas dos lugares, originando arquipélagos imaginários específicos. O mito da Atlântida deixa de ser arqueologia para se tornar protocolo: não a busca da cidade perdida, mas a modelação das condições sob as quais ela repetidamente desaparece.
‘Atlantis Cabo Verde’ avança nesta mesma direcção, acrescentando a dimensão geolocalizada: a obra não é uma reprodução, é uma instância específica, gerada a partir dos materiais míticos, tradicionais e visuais do território onde é criada. ‘Atlantis Cabo Verde’ é um espaço tridimensional imersivo onde o visitante navega um mundo sub e supra aquático mitológico, arqueológico, construído a partir de materiais recolhidos e co-criados em Santo Antão. O espaço é habitado por seres marinhos e encantados das tradições das ilhas, provenientes das tradições orais, das poesias, por formas geradas a partir dos desenhos e fotografias produzidos nas oficinas com participantes locais, e por sonoridades e imagens capturadas em campo, durante a residência.
A estética é colorida, fractal, experimental e low-fi: não o realismo fotográfico, mas a conjugação de fotografias reais obturadas pelas câmaras do artista, modificadas com lentes fractais, combinadas com geometria procedural, a paleta reduzida, o algoritmo como linguagem visual. Os conteúdos locais — os desenhos das crianças e dos jovens, a poesia, as tradições, as sonoridades e a imagética — são tratados como matéria-prima para uma transformação digital que preserva a sua origem sem a ilustrar literalmente.
Reveja o tríptico vídeo Atlantis Cabo Verde (Enxotar Moscas, Nadar com Tartarugas, Voar com Abelhas) no cabeçalho da página com exemplos ilustrativos finalizados e realizados durante a residência. O tríptico vídeo opera melhor se ligar o som nos controladores de cada vídeo.
Oficina ‘Jogar Atlantis’
Uma oficina participativa, orientada por André Sier, com crianças e jovens das comunidades locais, onde os participantes dão os primeiros passos nas artes digitais, explorando software artístico e criando desenhos e fotografias digitais, aumentados divertidamente com elementos de código autoral. O tema é a lenda da Atlântida, e Cabo Verde como possível local, a mitologia associada a seres marinhos encantados, trabalhados em artes imaginárias, e às tradições orais e escritas dos locais onde a oficina se (in)screve, neste primeiro caso, de Cabo Verde. Os desenhos e fotografias produzidos na oficina são integrados directamente na obra ‘Atlantis Cabo Verde’: tornam-se formas do espaço imersivo, habitantes do mundo subaquático, geometria de um mundo mítico. Os participantes são co-criadores de secções da obra e serão creditados dentro do videojogo. A oficina é inteiramente gratuita e não requer qualquer experiência digital prévia.
Os resultados são integrados na obra geolocalizada, sendo os participantes co-criadores, onde o tema é a lenda da Atlântida entrecruzada com tradições locais, que muitas vezes reportam seres imaginários e encantados, a mitologia enredada com a história emergente proveniente de gerações e gerações e gerações.
Descarregue aqui o PDF da apresentação da oficina ‘Jogar Atlantis’ que serve de mote à co-criação com os participantes. Para a co-criação dos elementos para a obra geolocalizada são disponibilizadas folhas de papel e lápis ou canetas, bem como programas desenvolvidos para as criações do artista em plataformas open-source que desenham com som, movimentos efectuados frente à webcam, com o rato, divertidamente aumentados com vários algoritmos, numa folha digital vazia, ou partindo de fotogramas obturados e registados digitalmente.
Vídeos e imagens das oficinas 'Jogar Atlantis' realizadas em Cabo Verde
Sobre o artista
André Sier é artista-investigador doutorado em artes tecnoéticas (Planetary Collegium, Universidade de Plymouth), licenciado em filosofia (FCSH/UNL), estudou meditação (UBP), performance (CEM), pintura e escultura (Ar.Co), música (AAM), bioquímica (FCUL). Constrói sobretudo o que chama de arte imaginária, sob a forma de videojogos mitológicos e agregados bio-electrónicos, bem como produz fotografia, escultura, desenho, vídeo, instalação e obras interactivas não lineares. A sua investigação artística desenvolve modelos computacionais, jogáveis, bio-electrónicos, para imaginar e dar a experienciar formas não-humanas de organização, percepção e de ecologia tecnológica, articulando arte computacional, videojogos experimentais, multimédia, cibernética, instalações imersivas, permacomputação.
Nos últimos quase 30 anos produziu trabalhos dinâmicos e estáticos em séries longas, alguns premiados, exibidos em mais de 34 exposições individuais nacionais e internacionais, e em mais de 100 eventos e exposições colectivas. Destaca as individuais ‘(2)000 & Uivo’ (MUHNAC, 2022), ‘Mel da Senhora do Labirinto’ (Zaratan, 2020), ‘Neon Paleolitikos’ (Ocupart, 2017), ‘Labirinto de Chronos I e II’ (Convento S. Francisco e do Carmo, 2016-17), ‘02016.41312785388128’ (Igreja do Sacramento, 2016), ‘Atlantis’ (MNAC, 2016), ‘Aespacialidade’ (novaOgiva, 2015-16), ‘Esculturas Generativas e Jogos (∆s/∆t)’ (Igreja S. Vicente, 2015), ‘Skate.Exe’ (Galeria Luis Serpa, 2014), ‘uunniivveerrssee.net & outras máquinas’ (Convento da Saudação e de S. Francisco, 2012), ‘k.’ (Appleton Square, 2011), ‘uunniivveerrssee.net’ (Museu de S. Roque, 2011), ‘Ape-x’ (NT Gallery, 2010), ‘Motion=Snd’ (Kapelica Gallery, 2009), ‘Terra-Grav’ (Galeria Leonel Moura, 2008), ‘Mapas e Dispositivos (Clareira)’ (Galeria Vera Cortês, 2006), ‘747’ (Galeria Quadrum, 2002). Educador de artes digitais e electrónicas desde 2002, é actualmente professor auxiliar convidado de Computação Multimédia, Realidades Virtual e Aumentada, e de Oficinas Multimédia na Faculdade de Belas-Artes da Universidade de Lisboa (FBAUL-DAM 2023–), e foi professor auxiliar convidado de Projectos de Artes Plásticas e Multimédia e de Tecnologias dos Novos Media na Universidade de Évora (UE-DAVD 2012–24), bem como tutor de mais de 35 oficinas e cursos de artes digitais e electrónicas em diversos festivais, escolas e também contextos associados às suas exposições. É director dos estúdios de arte computacional s373.net/x e da associação cultural ArteCódigo.
Residência Atlantis Cabo Verde · Jun/Jul 2026 & Jogar Atlantis · Oficina de Artes Digitais para Jovens
por André Sier | ArteCódigo.pt
Produção e Apoio: ArteCódigo | Co-Produção: Município do Paúl, Município da Ribeira Grande, Escola
Básica Pontinha de Janela, Centro de Juventude de Ribeira Grande, Ministério da Educação –
Delegação do Paúl – Santo Antão, Kairos.
[EN]
Atlantis Cape Verde
Marine Beings, Myth and Immersive Worlds
André Sier · Produced by ArteCódigo · Jun/Jul 2026
Residency · Workshops · Exhibition and Geolocated Videogame
Introduction
Images from the preparatory residency for the Atlantis exhibition at ArteCódigo SRAM, May 2016.
Ten years after a significant solo exhibition at the National Museum of Contemporary Art of Chiado (Atlantis at MNAC in 2016, curated by Adelaide Ginga – link to digital catalog version Atlantis @ MNAC), André Sier returns to his playable Atlantean mythological investigations, this time intertwined with poetry, traditions, and geolocated field collections, where sections of the playable work are co-created with local communities through workshops where the project takes place.
It is a larger-scope project, produced by ArteCódigo, which will celebrate 30 years of continuous artistic activity, where, in addition to a series of new bio-electronic, static, and interactive works planned for an exhibition at the Águeda Arts Centre in 2027, it includes the intertwining of mythology with traditions associated with the locations where it will be executed.
Through thematic workshops, and using digital art technologies developed by the artist-researcher in open-source systems and programming environments, participants become co-creators of content that is later incorporated into the playable experience. In addition to the workshops, there is ongoing fieldwork involving the collection of visual and sound media, investigations of poetry with mythical connections, as well as traditions recounted to the artist in the first person, and even recorded musical improvisations that account for the cultural intersection, which are then transformed into soundscapes in the video game. The game becomes a non-linear aesthetic reflection that incorporates traditions, from time to time almost lost, that intertwine with the mythology recounted by Plato, echoing an eternal nietzschean return. Through direct contact and even improvisations with local musicians and storytellers, the elements produced in workshops, and field research, the foundations are built of a structure that seeks to position the viewer as a player navigating and surfing the intrepid seas between Myth and History, which can sometimes, ‘in a single day and night of misfortune’, cause everything to deluge.
Images of photographic works by André Sier, often published on his insta-stories as they are created, from the MetaPh-AtlantisCaboVerde series and improvisations with Teófilo Delgado (traditional storyteller, Aldeia das Fontainhas) and Djone Alves (cavaquinho and vocals of Cordas do Sol, Cidade das Pombas)
In the ‘Playing Atlantis’ workshops, the artist introduces the myth of the tri-concentric city submerged by unknown forces of the planet it inhabits, warning humanity, even the most technologically advanced, that there are even greater forces, inaudible scales, which, at times, in rare dissonant and tempestuous chords, uproot all traces of any human construction.
The light and the heat, the darkness and the thaw, the immeasurable climatic oscillations outside of the sheets of music, occurring all over the planet, cause the tremor of catastrophes, almost instantaneous and quantum, on a planetary scale, to reverberate in the air. Thus, it is also on a planetary scale that this project unfolds and unravels tangled and coiled threads, where, through the same type of workshops, similar investigative content, and related methods of fieldwork, repeated and revisited in distinct and unique cultural contexts, associated with mythology, history and archaeology, traditions and poetry, logically equivalent, yet totally distinct, geolocated works are created. This is because philosophy can also be played, perhaps here naked, in a spiraling circularity, of which human traditions in various locations on the planet are a prime numerical example.
Atlantis Cabo Verde
‘Atlantis Cabo Verde’ will be a new work by André Sier: a three-dimensional mythological and immersive space, playable and constructed from fieldwork in Santo Antão, Cabo Verde — images, sounds, and digital creations co-generated with local participants in workshops, as well as the collection of traditions and poetry associated with marine beings and intertwined with Atlantean mythology. This work is based on the hypothesis that the Cape Verde archipelago is one of the geolocated surfaces where the myth of Atlantis continues to emerge: in stories of enchanted sea creatures, in the islands that were once sunken civilizations, in the poem by José Lopes da Silva published above in the era of ‘Claridade’ (a cape verdian period of intellectual and cultural awareness).
The project is part of a long-term research project on the myth of Atlantis, initiated in 2016 with the solo exhibition Atlantis at the MNAC (National Museum of Contemporary Art), and currently continuing with ‘Atlantis: Diluvian Protocols’, scheduled for the Águeda Arts Centre in 2027. Cape Verde is the first territory in a series of geolocated works—each constructed from the mythical and marine traditions of the places, originating specific imaginary archipelagos. The myth of Atlantis ceases to be archaeology and becomes protocol: not the search for the lost city, but the modeling of the conditions under which it repeatedly disappears.
‘Atlantis Cabo Verde’ advances in this same direction, adding a geolocalized dimension: the work is not a reproduction, but a specific instance, generated from the mythical, traditional, and visual materials of the territory where it is created. ‘Atlantis Cabo Verde’ is an immersive three-dimensional space where the visitor navigates a sub- and supra-aquatic mythological and archaeological world, constructed from materials collected and co-created in Santo Antão. The space is inhabited by marine and enchanted beings from the island’s traditions, arising from oral traditions, poetry, forms generated from drawings and photographs produced in workshops with local participants, and sounds and images captured in the field, during the residency.
The aesthetic is colorful, fractal, experimental, and low-fi: not photographic realism, but the combination of real photographs taken by the artist’s cameras, modified with fractal lenses, combined with procedural geometry, a reduced palette, and the algorithm as a visual language. Local content — children’s and young people’s drawings, poetry, traditions, sounds, and imagery — is treated as raw material for a digital transformation that preserves its origin without literally illustrating it.
Review the video triptych Atlantis Cabo Verde (Shooing Flies, Swimming with Turtles, Flying with Bees) at the top of the page with illustrative examples completed and made during the residency. The video triptych works best if you turn the sound on on each video controller.
Workshop ‘Playing Atlantis’
A participatory workshop, led by André Sier, with children and young people from local communities, where participants take their first steps in digital arts, exploring artistic software and creating digital drawings and photographs, playfully enhanced with elements of authorial code. The theme is the legend of Atlantis, and Cape Verde as a possible location, the mythology associated with enchanted sea creatures, worked into imaginary arts, and the oral and written traditions of the places where the workshop takes place, in this first case, Cape Verde. The drawings and photographs produced in the workshop are directly integrated into the work ‘Atlantis Cabo Verde’: they become forms of immersive space, inhabitants of the underwater world, geometry of a mythical world. Participants are co-creators of sections of the work and will be credited within the video game. The workshop is completely free and requires no prior digital experience.
The results are integrated into the geolocated artwork, with participants acting as co-creators. The theme is the legend of Atlantis intertwined with local traditions, which often recount imaginary and enchanted beings, mythology intertwined with the emerging history passed down through generations and generations and generations.
Download the PDF presentation of the ‘Playing Atlantis’ workshop here, which serves as a starting point for co-creation with the participants. For the co-creation of elements for the geolocated artwork, paper and pencils or pens are provided, as well as programs developed for the artist’s creations on open-source platforms that draw with sound, movements made in front of the webcam, with the mouse, playfully enhanced with various algorithms, on a blank digital sheet, or starting from shuttered and digitally recorded frames.
Videos and images from the 'Playing Atlantis' workshops held in Cape Verde
About the artist
André Sier is an artist-researcher with a PhD in technoetic arts (Planetary Collegium, University of Plymouth), a degree in philosophy (FCSH/UNL), and studies in meditation (UBP), performance (CEM), painting and sculpture (Ar.Co), music (AAM), and biochemistry (FCUL). He primarily creates what he calls imaginary art, in the form of mythological video games and bio-electronic aggregates, as well as produces photography, sculpture, drawing, video, installation, and non-linear interactive works. His artistic research develops computational, playable, bio-electronic models to imagine and experience non-human forms of organization, perception, and technological ecology, articulating computational art, experimental video games, multimedia, cybernetics, immersive installations, and permacomputing.
Over the past almost 30 years, he has produced dynamic and static works in long series, some of which have won awards and have been exhibited in more than 34 national and international solo exhibitions, and in more than 100 group events and exhibitions. Highlights include the solo exhibitions ‘(2)000 & Uivo’ (MUHNAC, 2022), ‘Mel da Senhora do Labirinto’ (Zaratan, 2020), ‘Neon Paleolitikos’ (Ocupart, 2017), ‘Labirinto de Chronos I e II’ (Convento S. Francisco e do Carmo, 2016-17), ‘02016.41312785388128’ (Igreja do Sacramento, 2016), ‘Atlantis’ (MNAC, 2016), ‘Aespacialidade’ (novaOgiva, 2015-16), ‘Esculturas Generativas e Jogos (∆s/∆t)’ (Igreja S. Vicente, 2015), ‘Skate.Exe’ (Galeria Luis Serpa, 2014), ‘uunniivveerrssee.net & outras máquinas’ (Convento da Saudação and S. Francisco, 2012), ‘k.’ (Appleton Square, 2011), ‘uunniivveerrssee.net’ (St. Roque Museum, 2011), ‘Ape-x’ (NT Gallery, 2010), ‘Motion=Snd’ (Kapelica Gallery, 2009), ‘Terra-Grav’ (Leonel Moura Gallery, 2008), ‘Maps and Devices (Glade)’ (Vera Cortês Gallery, 2006), ‘747’ (Quadrum Gallery, 2002). A digital and electronic arts educator since 2002, he is currently a guest assistant professor of Multimedia Computing, Virtual and Augmented Reality, and Multimedia Workshops at the Faculty of Fine Arts of the University of Lisbon (FBAUL-DAM 2023–), and was a guest assistant professor of Visual Arts and Multimedia Projects and New Media Technologies at the University of Évora (UE-DAVD 2012–24), as well as tutor of more than 35 digital and electronic arts workshops and courses at various festivals, schools, and in contexts associated with his exhibitions. He is the director of the computational art studios s373.net/x and the cultural association ArteCódigo.
Atlantis Cape Verde Residency · Jun/Jul 2026 & Play Atlantis · Digital Arts Workshop for Young People
by André Sier | ArteCódigo.pt
Production and Support: ArteCódigo | Co-Production: Município do Paúl, Município da Ribeira Grande, Escola
Básica Pontinha de Janela, Centro de Juventude de Ribeira Grande, Ministério da Educação –
Delegação do Paúl – Santo Antão, Kairos.
]]>ArteCódigo SRAM no GoogleMaps2026-08-01T00:00:00+01:002026-08-01T00:00:00+01:00https://artecodigo.pt/b/ArteCodigo-at-googlemapsPTEN
[PT]
Car@s amig@s, artistas, residentes, coleccionadores, a ArteCódigo SRAM já aparece no googlemaps, agora torna-se mais fácil visitar e chegar, perto de Santarém. Estamos a preparar muitas mudanças boas e upgrades eco-resilientes sustentáveis, bem como novo ciclo de residências na rentrée, e uma área expositiva e documental aberta ao público em geral. A partir de Setembro, fiquem atent@s, agendem a vossa visita! Ainda vamos documentar um projecto especial em curso, e depois umas mini-férias para regressar cheios de energia. Desejamos a todos umas boas férias e até breve!
Dear friends, artists, residents, collectors, ArteCódigo SRAM is now on Google Maps, making it easier to visit and reach, near Santarém. We are preparing many positive changes and sustainable eco-resilient upgrades, as well as a new cycle of residencies for the next season, and an exhibition and documentary area open to the general public. Starting in September, stay tuned and schedule your visit! We will also be documenting a special ongoing project, and then taking a mini-vacation to return full of energy. We wish you all happy holidays and see you soon!
]]>Publicação digital Calcular na Areia 24252026-07-24T00:00:00+01:002026-07-24T00:00:00+01:00https://artecodigo.pt/b/Calcular-na-Areia-2425-pubdigitalPTEN
[PT]
Um ano após o lançamento físico, o livro da primeira edição Calcular na Areia está disponível em formato digital/pdf na ArteCódigo Publicações. Aceda a artecodigo.pt/pub para obter a sua cópia digital gratuita.
O livro documenta trabalhos, textos e diálogos de 16 artistas-investigadores e emergentes em temas orbitando a eco-resiliência tecnológica, produzidos em 2024 e 2025 através de 20 residências colaborativas e efervescentes, 4 exposições com eventos ao vivo, 3 oficinas cheias de pistas para um futuro eco-tecnológico sustentável e crítico, plenos de cultura inovadora.
Produzido pela ArteCódigo, a primeira edição do ciclo Calcular na Areia contou com apoio da Câmara Municipal de Santarém e parcerias com a Santarém Cultura, Casa do Brasil Santarém, Fórum Actor Mário Viegas, Oficinas do Convento, s373.net/x. Dirigido por André Sier, co-curadoria e textos de exposições de Eunice Mestre, o ciclo Calcular na Areia contou com trabalhos inéditos d@s artistas Patrícia Nazaré Barbosa, Sofia Silva, Miguel Soares, Mónica Pedro, Thaisa Rana, Miguel Carvalhais, Rosemary Lee, Guilherme Martins, Margarida Sardinha, David Negrão, André Rangel, Tiago Rorke, Owari Stray, Vitor Joaquim, André Sier, John Klima.
Ainda temos alguns exemplares físicos e numerados da primeira edição de 100 que poderão ser adquiridos por 10€ mais IVA e despesas de envio através do email geral@artecodigo.pt.
Agradecemos a todos os artistas os momentos de partilha intensa e criação que originaram momentos inesquecíveis, a todo o público que com entusiasmo nos acompanhou ao longo das exposições, visitas guiadas, oficinas e performances, e aos parceiros que nos acolheram e co-produziram. Estamos juntos!
Partilhem pelos vossos amigos e familiares! Óptima leitura para levar para a praia e para a montanha, para a floresta e mesas de café, para as salas de espera de comboios e aviões, e recomendável em qualquer transporte público!
[EN]
One year after its physical release, the first edition of the book Calculate on Sand is now available in digital/PDF format from ArteCódigo Publicações. Visit artecodigo.pt/pub to get your free digital copy.
The book documents the work, texts, and dialogues of 16 emerging artists-researchers on themes orbiting technological eco-resilience, produced in 2024 and 2025 through 20 collaborative and vibrant residencies, 4 exhibitions with live events, and 3 workshops full of clues for a sustainable and critical eco-technological future, brimming with innovative culture.
Produced by ArteCódigo, the first edition of the Calculating in the Sand cycle was supported by the Municipality of Santarém and partnered with Santarém Cultura, Casa do Brasil Santarém, Fórum Ator Mário Viegas, Oficinas do Convento, and s373.net/x. Directed by André Sier, with co-curation and exhibition texts by Eunice Mestre, the “Calculating in the Sand” cycle featured previously unseen works by artists Patrícia Nazaré Barbosa, Sofia Silva, Miguel Soares, Mónica Pedro, Thaisa Rana, Miguel Carvalhais, Rosemary Lee, Guilherme Martins, Margarida Sardinha, David Negrão, André Rangel, Tiago Rorke, Owari Stray, Vitor Joaquim, André Sier, and John Klima.
We still have some numbered physical copies of the first edition of 100 available for purchase for €10 plus VAT and shipping costs via email at geral@artecodigo.pt.
We thank all the artists for the intense moments of sharing and creation that resulted in unforgettable experiences, all the audience who enthusiastically accompanied us throughout the exhibitions, guided tours, workshops, and performances, and the partners who hosted and co-produced us. We’re in this together!
Share with your friends and family! Great reading to take to the beach and the mountains, to the forest and coffee shops, to train and airplane waiting rooms, and recommended for any public transport!
]]>NatureWare 01 - Night Swimming by André Sier2025-11-02T00:00:00+00:002025-11-02T00:00:00+00:00https://artecodigo.pt/b/natureware01-nightswimming[EN]
🌴💻🌊NatureWare #01: Night Swimming by André Sier, 20251102,03 🌿
What if algorithms could swim? Green lasers, full moon, Atlantic waves breeze — generative night swimming physics projected on cliff and sea. We took our code to the beach 🌊. Full moon up. Lasers out. Generative humanoids bathing like underwater ghosts — physics, chaos, oceanic beauty in ondulatory motion.
Night Swimming by André Sier launches NatureWare, a new cycle of live electronic arts in wild nature, produced by @artecodigo.pt. No gallery. No screens. Just sound, light, code, electronics and electromagnetic waves talking to nature and natureware talking back.
———
⚙️ Tech Data
Laser mapping projection by ArteCódigo
Physics-based stochastics swimming software: C++/Python custom engine by André Sier
Sound: synaesthetic image to field recordings, laser control protocol, oceanic layers
Location: Portugal southern coast
Cycle: NatureWare #01 — ArteCódigo 2025
🌴💻🌊NatureWare #01: Natação Nocturna de André Sier, 20251102,03 🌿
E se os algoritmos pudessem nadar? Lasers verdes, lua cheia, brisa das ondas do Atlântico — física generativa da natação noturna projetada em penhascos e no mar. Levamos o nosso código para a praia 🌊. Lua cheia no céu. Lasers disparados. Humanóides generativos banhando-se como fantasmas subaquáticos — física, caos, beleza oceânica em movimento ondulatório.
Night Swimming de André Sier inaugura o NatureWare, um novo ciclo de artes eletrónicas ao vivo na natureza selvagem, produzido por @artecodigo.pt. Sem galeria. Sem ecrãs. Apenas som, luz, código, eletrónica e ondas eletromagnéticas a falar com a natureza e o NatureWare a responder de volta.
———
⚙️ Ficha Técnica
Projeção de mapeamento laser por ArteCódigo
Software de natação estocástica baseada na física: Motor personalizado em C++/Python por André Sier
Som: Sinestesia de imagem com registos de campo, protocolo de controlo laser, camadas oceânicas
Local: Costa sul de Portugal
Ciclo: NatureWare #01 — ArteCódigo 2025
]]>Apoio Pontual 2024 Calcular na Areia2025-08-18T00:00:00+01:002025-08-18T00:00:00+01:00https://artecodigo.pt/b/apoio-calcularnaareiaA ArteCódigo lamenta informar que por pouco mais de 0.5% não foi apoiada pela República Portuguesa para prosseguir, finalmente com condições mínimas essenciais, o ciclo de residências eco-tecnológicas resilientes “Calcular na Areia”.
Isso significa que não vamos conseguir dar continuidade arrancando para já com uma segunda edição, com todos os novos artistas já alinhavados. Nem tão pouco conseguimos pagar aos artistas investigadores e emergentes e demais colaboradores da primeira edição do ciclo pelos seus trabalhos inéditos, frutos de momentos de residência e reflexão colaborativa, e encontros únicos com públicos ávidos de maior profundidade cultural, momentos de partilha de trabalhos que repensam as novas tecnologias com as tradicionais como ferramentas transformadoras eco-sistémicas e culturais.
Gostaríamos de agradecer aos artistas e estruturas com quem realizamos ainda um programa ambicioso ao longo da primeira edição, que envolve a edição de um livro, quatro exposições de estreia em Santarém e duas previstas para breve, três oficinas, vinte residências colaborativas com dezasseis artistas, criando individual e colaborativamente mais de trinta obras que hibridizam temáticas resilientes e investigam novas ligas ancoradas em artes electrónicas, biológicas, digitais, visuais, sonoras, performáticas, públicas. Sem o vosso apoio e dedicação esta pesquisa experimental estética não seria possível.
Mas o espírito do ciclo está lançado, e não demovido. Inventaremos novas vias. Não será um apoio pontual atabalhoado, que sendo previsto em Março de 2024 para Outubro, acaba lançado em Fevereiro de 2025, e decidido em Agosto, para agora as ondas subrepticiamente apagarem os incêndios culturais, e se poupar um ano sem apoios para a cultura, continuando a premiar com dinheiros públicos agentes culturais habituais e estruturas sustentadas ad eternum. Assim, enquanto estendemos um dedo aos decisores culturais, gostaríamos que houvesse de facto apoios para a cultura experimental de investigação.
