The domain of the digital must belong to users, -invisible, without a name, a role, or any interest. Here, life has been curated to a single extension, a meaningful and meaningless imagery. Are people hidden by too many images? Do they become images? Once virtualized, our skin becomes permeable and one day, it will detach itself completely from the hyper body and vanish. We [individual intelligences] have our image, like a wheel’s tire, stripped of its own form through its continued use. This, a practical evasion of biometric facial recognition -as the spectacle is the realm of vision, and vision is exteriority- is a dispossession of oneself. How dreary to be somebody! Shamefully elitist and ego driven. But telepresence is always something more than just the projection of the image. Am I the one to become nobody on the void of a digital screen? Or is my being entangled into my process? Hello, I’m nobody, who are you?

Welcome to the archive space

of work by ẅhŏddăŧ




hello@whoddat.me

born in São Paulo, based in Barcelona, discussing art, graphic design & technology.










I am Nobody! Who are you?(1)

 
[1] Here's the completet portfolio .pdf~

[2] Here's my full CV~
My Happy SVG








Welcome to the archive space              of work by ẅhŏddăŧ




hello@whoddat.me based in Barcelona,
    discussing      
    art,graphic design &
    technology.

My Happy SVG










My Happy SVG
Garden of Agon   

   [Interactive Installation]

                 2022



According to most of theology preaching, life began at a Garden. Heavenly, beautiful, and free of temptations. Nature and Humans starred not only the first coexisting relationship, as well as the first Agon. The word inherited from Ancient Greek ἀγών proves that breaking boundaries of being an expression of or giving a tangible or visible form shall cause interferences. Decades later, we allow another protagonist to rise - Technology. In times of post-human post-media relationships, it is no longer acceptable to see coexisting as binary; technology has given us another seed in our Gardens. Relaying on my personal journey of self-sowing discussions about how entangled each one of these three seemly distinct categories are, Garden of Agon (a non-binary embodiment) is a modern allegory of roots, desires and thoughts collected to repel the viewer of entering a Garden. Here, Nature becomes Technology as it germinates connections within its components moreover Technology embodies Human as it leads you to interfere as you get closer. As a complex and visually intriguing installation, Garden of Agon provokes and expels - We must cultivate our own garden, as Voltaire said.  

Credits:

Carbon
Steel Plate donated by RFR Recycling

Thanks to:

Matheus Leston
Caio Moraes
& all those who supported me for this project



Proxy Promise   

   [Interactive Installation]

                 2021


Proxy, “to act on behalf of another,” half entitles this installation space which subjectively provokes today’s flux as catalysts of selfhood, indulging a mass individualization through biased imagery as I use my own algorithm data as the protagonist. Recreating the layering process of decoding noise to available consumption data, the piece contains recycled carbon steel as the hardware intrusive layer, forcing the viewer to move to have a different perspective – an allegory to our own self-consumption indulged point of view that happens online. Proxy Promise is the abstraction of coded bias discussion, an era of technology that can be promising to those who allow a vicious cycle of entertainment to squander.

Credits:

Carbon
Steel Plate donated by RFR Recycling


Veneer  

   [Interactive Installation]

                 2020


Through a complex of virtuality and interaction, Veneer, which means something that hides something unpleasant or unwanted is subjective installation where media matter becomes the central dictator of the ideology shaping a society. Utilizing collected data from social media, this interactive system blends humor and consciousness with how the content we often use to distract or educate ourselves can became independent as its own community.
    Simulating a video game setup with two controllers, the user can activate or deactivate a guide through voice that shows information about Veneer, from their laws, population count to their leaders. However, no more than allowing the viewer to overlapping videos displayed on the screen, this project is an irony of how much can we control of the digital world, pretending that the underneath is not visible, we often forget that there is a lot of damage and violence inside the digital realm.

Credits:

All the dumb stuff that is available online


25/40 year  

   [Interactive Installation]

                 2019


Based off a quote from the book ‘Age of Earthquakes’, this installation represents how digital facilities indulge a moral question beneath their pretentious built: can we hide our true self on the internet? Aiming to discuss the duality of profiles inside dating apps, social media accounts and so on, across the screen, questioning the alter identity of these profiles as it is a complex hidden of one’s personality. Within research about catfishing environment that happens online the indicative of an identity of a woman is blended with the portrait of a man that was arrested for the act of behaving like someone else on the Internet. Through a video installation and live code, the eagerness and desire to know someone one is mirrored by detailing in its core, in this case the pixel that form the digital image, that this is not who they truly are. As an awareness and discussing, this project remarks how there isn’t all good in the digital.

*Project awarded with Bronze @ Multimedia
IDA Awards

Credits:

Mugshots of catfishing arrests


Affinitive Sight  

   [AR Object & Essay]

                 2019


Is the experience inside the walls an art institution only shaped by its content displayed as artworks? Can art be represented by how a subject feels and reacts walking through the exhibition but never focusing on the works, but rather on their own thoughts and feelings? Contradicting the objectification that the art market seems to praise, this project, an augmented reality video that appears from an empty object, tries to emulate the feelings of an anonymously person’s walk through at a museum. This piece is categorized as a selling object, marked as its collection of replicas, but only usable when it comes to pointing a camera towards it. This is a secondary outcome to a research essay entitled as this work.

Credits:

The software that makes AR camera so easily


(1)

My artistic practice was curated by a poem called ‘I’m Nobody! Who are you?’ from Emily Dickinson, that confronts the fame and authorship in a beautiful and inspiring way. 
My artistic name, as I use, is Whoddat, allowing the anonymity to be its center while appropriating the Internet language as poetically written.