"Technique is evolving faster than culture," states Bernard Stiegler, and the human capacity to assimilate can no longer keep up with the updating process. Consequently, thousands of gadgets are launched to the market each year, which due to the current consumption demand, quickly fall into disuse, fueling the increasingly extensive landscapes of electronic waste.

Deposited, obsolete and without context, these gadgets become the remains of a life still present, but that we do not recognize anymore. Or traces that trigger us memories of a recent time, but that had passed. Consequently, we live with a mass of objects which we no longer understand by ignoring their function, a legion of strangers, inert, abandoned and heaped objects.

In this context and from an archeology of the present that involves processes of research, excavation and analysis, we propose a landscape under the ground where the mass of obsolete gadgets breaks apart through the individualization of certain objects, back fed and placed in a new state of transformation so that we can know them, not as they were, but through a defamiliarization or a new look at what has already been overcome.

Installation with João Abreu Valente, exhibited at Biennial of Contemporary Art of Maia 2017.

Taking SOPHIA as a central object, this new edition of Impressões Expressas unfolds between the reference to Sophia de Mello Breyner and the homonymous concept coming from the Greek term "sofós" which means "who holds wisdom."

Therefor, SOPHIA SOPHIA is a mobile application/ essay which translates as an invitation to meet Sophia's work. However, not into a chronological, bibliographical or biographical knowledge of the author, but into a knowledge that is constructed from linguistic relations.

Having poems of Sophia de Mello Breyner inscribed in the ramp of the Book Fair of Porto, SOPHIA SOPHIA materializes in a mobile application that, from its function of recognition of text, allows the user to enter in a digital space where her poetic work becomes a collection of texts without order, principle or end. A digital space where, through text mining tools, the poems are categorized and regrouped, aiming to find linguistic relationships which allow us to explore new and ever different paths through the poems of Sophia de Mello Breyner.

Installation and mobile application for Impressões Expressas, curated by Andreia Garcia, design Ana Schefer and Teo Furtado at the Book Fair of Porto.

CAPTCHA–T is an interactive installation that reflects on the growing number and complexity of bots that inhabit social media, namely Twitter. It proposes to re-interpret Alan Turing’s Imitation Game, the first basic model of AI and HCI tests, using two humans and a bot. Having two terminals, one placed in Lisbon and the other in Almada, it allows the participants to “create and share ideas and information instantly” about the PLUNC festival. Interfering in the discourse there’s a bot capturing tweets about the festival and placing them in the system. Given that this bot is identified as being the user from the opposite terminal, it becomes ambiguous who is in fact communicating from the other side: a human or a bot?

Interactive installation, with Anaa colective, for Plunc – New Media and Digital Art Fest, at Museu das Comunicações (Lisboa) and Casa da Cerca (Almada).