Andrei Thomaz
Since the beginning
Works in São Paulo Brazil

Andrei R. Thomaz is graduated in Fine Arts by UFRGS and currently courses a MFA at ECA/USP, São Paulo, Brazil, supervised by Silvia Laurentiz. He is studying the presence of labyrinths in electronic games. He has developed net art works since 2000, and the labyrinth is one of the main subjects in his works. These works can be seen at
Discussions (54) Opportunities (0) Events (4) Jobs (0)

Pertinent Relations / Relacoes_de_Pertine ncia

[portugues version below]

Dear friends,

I would like to invite you to see my newest work:

This work is a development of the exhibition Pertinent Relations,
occurred in november of 2005. The exhibited works were composed by
photographs, and used the diagrams of sets operations (union,
intersection, difference), used in books of scholar mathematics, to
combine the images.

Now, what is proposed is the random generation of the compositions, from
images sent by viewers. Our goal is to investigate if the suggestion of
narratives is still present, and to watch the relations among the images
that compositions will suggest, without having control about them.


At this moment, the work is composed by 5 animations that use images
choosed each time they are exhibited. To change the images, just click
on Reload, in your browser, or press F5. To change the animations, use
the arrows below the animation, in the right corner. Finally, to send a
image, click in Send Images. To avoid that inadequate images be sent,
the images sent for the viewers must be approved by me before they are
used in the work.Caros amigos,


gostaria de convida-los a acessar meu mais novo trabalho:


Este trabalho e um desenvolvimento da exposicao Relacoes de Pertinencia,
apresentada pela primeira vez em novembro de 2005. Os trabalhos desta
exposicao eram compostos por fotografias, utilizando como esquema de
combinacao os diagramas de operacoes entre conjuntos (uniao,
interseccao, diferenca), utilizados nos livros de matematica escolar.

Agora, o que se propoe e que as composicoes sejam geradas
aleatoriamente, a partir de imagens enviadas pelos visitantes. Nosso
objetivo e investigar se a sugestao de uma narrativa permanece, e
observar as relacoes entre as imagens que serao sugeridas pelas
composicoes, sem termos controle sobre as imagens de cada composicao,


Neste momento, o trabalho e composto por 5 animacoes que utilizam
imagens sorteadas a cada vez que sao acessadas. Para trocar as imagens,
basta clicar em Atualizar, ou teclar F5. Para trocar de animacao,
utilize as setas no canto inferior direito. Por fim, para enviar uma
imagem, utilize o formulario disponivel na pagina Enviar Imagens. Para
evitar que material inadequado seja enviado, as imagens enviadas ficam
numa lista de espera ate serem aprovadas pelo autor do trabalho.


RGB Design Digital / (51) 92067436


Uses of Space update

hello list,

I would like to say that the project Uses of Space was updated:

And I would also like to invite you to participate in the project ;-)


RGB Design Digital / (51) 92067436


Usos do Espaco_|_Uses_of_Space

English version below

N Formas de Usar o Espaco

Nos estamos lancando o projeto Usos do Espaco e o seu primeiro trabalho,
N Formas de Usar o Espaco. Neste trabalho, fazemos um convite para que
voce monitore a utilizacao de um espaco, em qualquer lugar do mundo. O
tipo de espaco nao e determinado: voce pode monitorar um apartamento, um
parque, uma rua, um estacionamento, etc. O importante e que o
monitoramento deve durar tempo o suficiente para que possamos ter uma
ideia dos possiveis usos do espaco selecionado.

Como participar: envie um e-mail para, informando
o local escolhido, e envie imagens do mesmo. Voce tambem pode enviar
qualquer outro tipo de observacao (textos, desenhos, sons, etc.) que
desejar. A frequencia do monitoramento fica a criterio de cada
participante. Os dados dos espacos monitorados, enviados pelos
participantes do projeto, serao publicados no site do projeto.

Usos do Espaco
Andrei R. Thomaz |


N Ways of Using the Space

We are launching the Uses of Space project and its first work, N Ways of
Using the Space.
We are inviting you to monitor the use of a space, anywhere in the
world. The kind of space is not previously determined: you can monitor
an apartment, a public park, a street, a parking lot, etc. The only
thing to notice is that the monitoring must last the time necessary to
have an idea of the possible uses of the selected space.

How participate: send an e-mail to, informing the
chosen place, and then send images of that place. You can also send any
kind of observation data (texts, drawings, sounds, etc.) you wish. The
monitoring frequency is with you. The data of the monitored spaces, sent
by the participants of project, will be published in the project's site.

Uses of Space Project
Andrei R. Thomaz |

RGB Design Digital / / (51) 92067436


Re: FILE: Save As: Glossy Print

hello Ophra,

I read your message in the Rhizome list, and I am sending some comments.
There are a lot of interesting questions that can be discussed, but I am
bringing just three little comments (excuse me for grammatical errors):

a) We can think about three spheres with what the festival is related
to: the artists, the art system (the system of contemporary art, that is
not, necessarily, familiarized with art and new media), and the public.
I would put the people that work with art and new media (but not as
artists) in the first sphere. To this group of people, yes, maybe
several events and festivals need to be more focused on specific
questions. When there is no focus, the works lose in strenght, because
there is no other relation among before beyond 'all they use new media'.
The exhibition lose in impact, too.

b) but, for the others two spheres, there is a lot of work to be done.
Unhappily, the contemporary production of art and new media is
unfamiliar not only to the public audience, but also to a big part of
artistic and academic audiences in Brazil. So, a work of 'divulgation'
is necessary. It is necessary to remember, every year, that this
production exists. I am not justfying the fact of than FILE hasn't a
theme, a focus, but I think it is important to see it in the brazilian

c) I cann't think about anything closer to the situation you describe to
the actual system of avaliation of academic production in Brazil. We are
in days where everything is quantitative; people send papers to any kind
of event just because it can that 'i will have more one paper
published'. The reasearch is losing to the bureocracy. I don't know how
is the avaliation of academic production in other countries, but that is
our situation nowadays. It is like if artist sent their work to any kind
of event, indepent of what it can be. It is a sad situation, anyway.

bye, and happy 2005,

Ophra Wolf wrote:

> 'FILE: Save as Glossy Print


The Time in the Web Art Works that Grab,and Process Data from Internet - 1/4

hello list,

I wrote this text for a discipline of the Fine Arts course. Some of you
helped me with hits about artworks, so now I am sending the text to you.
I will send it in 4 parts.

bye, and thanks for your time,


The Time in the Web Art Works that Grab and Process Data from Internet,
in Real Time

1. Introduction

Many works of web art deal with data generated when viewer interacts
with them. The movements that the viewer executes with mouse and the
answers sent through the keyboard can be used to change the work
development, to create images and make sounds. Several kinds of sensors
and cameras bring information from external world, information that will
be part of works that deal with telepresence and related questions.
Consultations to Google are done aiming to get texts and images that
will be shown, after suffering diverse kinds of manipulation, to the

Among these diverse ways of grabbing and working with data generated in
real time, we selected some works that use information grabbed from
Internet, to analyze the way that they are related with time and
viewer's context. What changes come up by the fact that we see the
result of an almost instantaneous processing and that we are in front of
works feeded by the continuous flux of information that constitutes the
Internet? How are these works related with their context and with the
Internet's context? What differences can we point in relation to the
works of art (not necessarily web art works) that deal with static
structures, data and shapes, that don't change along a day, neither
along the years?

2. Some works of Web Art that search and process data from the Internet
in real time

We tried, in selecting the works of web art that we will study in
following, to choose works that incorporate the uninterrupted flux of
information from the Internet to their poetics, so this flux is an
important question to the work, and not a 'collateral effect