CyberPerformanCity
an experimental methodological resource for creative processes in digital media art, performing arts, and urban space
DOI:
https://doi.org/10.34629/rcdmt.vol.3.n.1.pp70-101Keywords:
Cyberperformance, Digital media art, Feminist media art, Urban space, Artistic researchAbstract
This article presents the development of CyberPerformanCity, an experimental generative methodology designed to support creative processes that bring together digital media art, performance arts, and urban space. This method may prove particularly valuable for artists interested in designing and implementing their own methodologies within the context of artistic practice. CyberPerformanCity emerged from the need to interconnect three creative domains—cyberspace, cyberperformance, and public space – within digital media art projects. Its development is linked to the European projects CyPeT (2022–2023) and the COST (European Cooperation in Science and Technology) Action Writing Urban Places: New Narratives of the European City (2020–2023). The article outlines the conceptual and methodological foundations of CyberPerformanCity, as well as its practical application. It also discusses the creative processes behind two feminist cyberperformative artefacts of my own authorship, developed respectively in Portugal and Italy, which led to the conception of this methodology: Make me up! (2021) and Aretusa Vox (2023).
Downloads
References
Alcoff, Linda, e Elizabeth Potter, eds. 1993. Feminist Epistemologies. Nova York: Routledge.
Alexenberg, Mel. 2011. The Future of Art in a Postdigital Age: From Hellenistic to Hebraic Consciousness. Bristol: Intellect Books.
Andrea dell’Anguillara, Giovanni. 2003. Le Metamorfosi di Ovidio. Roma: Biblioteca Italiana.
Ascott, Roy. 1998. “A Arquitetura da Cibercepção.” In Ars Telemática: Telecomunicação, Internet e Ciberespaço, editado por Claúdia Giannetti 163-177. Lisboa: Relógio D'Água.
Bachelard, Gaston. 1997. A água e os sonhos: ensaio sobre a imaginação da matéria. Tradução de Antônio de Pádua Danesi. São Paulo: Martins Fontes.
Baitello Jr., Norval. 2017. “De onde vem o poder das imagens que invadem nossas casas e corpos?” In Ecologia da imagem e dos Media, editado por C. Giannetti, 55–64. 1.ª ed. Lisboa: Nova Vega.
Bakhtin, Mikhail. 2003. Estética da criação verbal. 3.ª ed. Tradução de Maria Ermantina Galvão Pereira. São Paulo: Martins Fontes.
Bardiot, Clarisse. 2013. “Du Big Data Theater au nanospectacle.”Alternatives théâtrales, vol. 119: 81–5. https://hal.sciencehal-02337910v1/document.
Bessone, Federica. 2020. “L’illusione del lettore: Aretusa e i seus relatos em Ovidio, Metamorfosi 5.” Dictynna, vol. 17. PDF. DOI: https://doi.org/10.4000/dictynna.2461.
-----. 2022. “Autofiction al femminile. Arte di raccontare ed efeitos de gênero em Ovidio.” In The Gendered ‘I’ in Ancient Literature: Modelling Gender in First-Person Discourse, editado por Lisa Cordes e Therese Fuhrer, 307–28. Berlim: De Gruyter. DOI:https://doi.org/10.1515/9783110795257-015.
Bidarra, José, Pedro Alves da Veiga, Rosimária Sapucaia, Julia Wexel, Mirian Tavares e Susana Costa. 2023. “Desenvolvimento de um modelo pedagógico virtual para as artes performativas digitais.” RE@D - Revista de Educação a Distância e Elearning, vol. 6, no. 1: 1–16. https://revistas.rcaap.pt/lead_read/article/view/29227/.
Boos, Tobias. 2017. Geographies of Media. Cham: Palgrave Macmillan.
Bourdieu, Pierre. 2002. A dominação masculina. Tradução de Maria Helena Kühner. Rio de Janeiro: Bertrand Brasil.
Braidotti, Rosi. 2011. Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. 2ª ed. Nova York: Columbia University Press.
Butler, Judith. 1995. “Burning act Injurious Speech.” In Performativity and Performance, editado por Eve Kosofsky Sedgwig e Andrew Parker, 197–227. Londres: Routledge.
Candy, Linda, e Ernest A. Edmonds. 2018. “Practice-Based Research in the Creative Arts: Foundations and Futures from the Front Line.” Leonardo, vol. 51, no. 1: 63–9.DOI: https://doi.org/10.1162/LEON_a_01471.
Candy, Linda. 2006. “Practice-Based Research: A Guide.” Sydney: University of Technology. https://www.creativityandcognition.com/wp-content/uploads/2011/04/PBR-Guide-1.1-2006.pdf.
Carvalho, José, e Luís Gustavo Martins. 2017. “Caixa de Música: O Espaço Tecnológico e a Arte Pública.” In Arte pública na era da criatividade digital – Atas do Colóquio Internacional, vol. 2, editado por José Guilherme Castro Abreu e Laura Castro, 275–85. Porto: Universidade Católica Portuguesa Editora.
Cassataro, Laura. 2015. Siracusa: Quattro passi nella storia. Siracusa: Verbavolant Edizioni.
Causey, Matthew. 2006. Theatre and performance in digital culture: from simulation to embeddedness. Londres: Routledge.
dal Gallo, Fabio. 2013. “A Etnografia na Pesquisa em Artes Cénicas.” MORINGA - Artes Do Espetáculo, vol. 3, no. 2. https://periodicos.ufpb.br/ojs2/index.php /moringa/article/view/15350.
Dawsey, John C. 2008. The Uses of Sidewalks: Women, Art, and Urban Space-1966–1980. Tese de Doutorado, Stanford University. https://openpublishing.psu.edu/ahd/content/uses-sidewalks-women-art-and-urban-space-1966-1980.
Diógenes, Glória Maria dos Santos. 2015. “Entre cidades materiais e digitais: esboços de uma etnografia dos fluxos da arte urbana em Lisboa.” Revista de Ciências Sociais, vol. 46, no. 1: 43–67. https://repositorio.ufc.br/handle/riufc/21657
Dixon, Steve. 2007. Digital Performance: A History of New Media, Performance Art, and Installation. Cambridge: The MIT Press.
Eisner, Elliot. 2008. “Persistent tensions in arts-based research.” In Arts-based research in education, editado por Melisa Cahnmann-Taylor e Richard Siegesmund, 16–27. Londres: Routledge.
Foster, Hal. 1996. “The artist as ethnographer.” In The return of the real. Cambridge: The MIT Press.
Freitas, Marcel de Alemida. 2021. “Book abstract: Butler, J. (2016). Gender problems: feminism and subversion of identity.” RAC: revista angolana de ciências, vol. 3, no. 1: 266–73. http://portal.amelica.org/ameli/jatsRepo/400/4002188016/index.html.
Haraway, Donna. 1988. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies, vol. 14, no. 3: 575–99. DOI: https://doi.org/10.2307/3178066
-----. 2016. Staying with the Trouble: Making Kin in the Chthulucene. Durham: Duke University Press.
Heffernan, Virginia. 2016. Magic and Loss: the internet as art. Nova York: Simon & Schuster.
Jamieson, Helen V. 2008. Adventures in cyberperformance: Experiments at the interface of theatre and the internet. Tese de Doutorado, Queensland University of Technology. https://bit.ly/3WKnZHx.
Joyce, Laura. E. 2017. Luminol Theory. Brooklyn: Punctum Books. DOI: https://dx.doi.org/10.1353/book.66792.
Ketzer, Patricia. 2017. “Como pensar uma epistemologia feminista? Surgimento, repercussões e problematizações.” Argumentos: Revista de Filosofia, vol. 9, no. 18: 99–111. https://repositorio.ufc.br/handle/riufc/32159.
Lehmann, Hans-Thies. 2013. “Teatro Pós-dramático, doze anos depois / Postdramatic Theatre, 12 years later / Théâtre Postdramatique, douze ans plus tard.” Revista Brasileira de Estudos da Presença, vol. 3, no. 3: 859–878. DOI: https://doi.org/10.1590/2237-266039703
Lipovetsky, Gilles, e Jean Serroy. 2010. O ecrã global: cultura mediática e cinema na era hipermoderna. Lisboa: Edições 70.
Machado, Arlindo. 2007. “Arte e Mídia: aproximações e distinções.” Galáxia: Revista do Programa de Pós-Graduação em Comunicação e Semiótica, vol. 4. DOI: https://doi.org/10.30962/ec.v1i0.15.
Manovich, Lev, e Alise Tifentale. 2015. “Selfiecity: Exploring Photography and Self-Fashioning in Social Media.” In Postdigital Aesthetics: Art, Computation and Design, editado por David M. Berry e Michael Dieter, 109–122. Basingstoke e Nova York: Palgrave Macmillan.
Manovich, Lev. 2017. Instagram & Contemporary Image. Nova York: Postdigital Aesthetics.
Marcos, Adérito Fernandes. 2012. “Instanciando mecanismos de a/r/tografia no processo de criação em arte digital / computacional.” Invisibilidades: Revista Iberoamericana de Pesquisa em Educação, Cultura e Artes, vol. 3: 138–45.https://www.apecv.pt/revista/invisibilidades/03/10.24981.16470508.3.13.pdf
Najima, Fabiana Mitsue. 2020. “Ciberperformances e a Cibernética.” Revista Outras Fronteiras, vol. 7, no. 1: 1–19. https://periodicoscientificos.ufmt.br/outrasfronteiras/index.php/outrasfronteiras/article/view/364
Navas, Eduardo. 2022. The Rise of Metacreativity: AI Aesthetics After Remix. Londres: Routledge.
Norcia, Giuseppina. 2014. Dizionario Sentimentale di una Città. Milão: VandA.ePublishing.
Papagiannouli, Christina. 2011. “Cyberformance and the Cyberstage.” The International Journal of the Arts in Society, vol. 6, no. 4: 273–282. https://pure.southwales.ac.uk/en/publications/cyberformance-and-the-cyberstage/
-----. 2022. “A Postdigital Response: Experiential Dramaturgies of Online Theatre, Cyberformance and Digital Texts.” In Experiential Theatres: Praxis-Based Approaches to Training 21st Century Theatre Artists, editado por William W. Lewis e Sean Bartley, 175– 81. Londres: Routledge.
Rago, Luiza Margareth. 2013. A aventura de contar-se: feminismos, escrita de si e invenções da subjetividade. Campinas: Editora da Unicamp.
Rodrigues, Antônio. 2018. “Performances urbanas: Formas artísticas e Intervenções Urbanas.”
Revista de Cultura e Extensão USP, vol. 19: 43 – 57.https://redib.org/Record/oai_articulo1525111-performances-.
Rodrigues, Nuno. 2015. “Donna Haraway e a proposta de conhecimentos situados.” LES Online, vol. 7, 1, no. 1: 26–38. https://www.researchgate.net/publication/294089708_DONNA_HARAWAY_E_A_PROPOSTA_DE_CONHECIMENTOS_SITUADOS
Sapucaia, Rosimari, Juliana Wexel, e Mirian Tavares. 2024. “A cultura da ciberperformatividade: Reflexões sobre as artes performativas na internet.” In Revista do II Congresso da Rede Nacional em Estudos Culturais: Cidadania digital e culturas do contemporâneo, editado por Gabrila Borges, Rui Grácio, e Orquídea Ribeiro, 103-14. Coimbra: Grácio Editor.
Scolari, Carlos. 2013. Narrativas transmedia: cuando todos los medios cuentan. Bilbao: Deusto.
Tira, Yasmine. 2021. “Digital Urban Art in Historic City Centers in Times of Democratic Transition.” In Transforming Urban Nightlife and the Development of Smart Urban Spaces, editado por Hisham Abusaada, Abeer Elshater e Dennis Rodwell, 172–91 Hershey, PA: IGI Global. https://doi.org/10.4018/978-1-7998-7004-3.ch011
Toft, Tanya, Susa Pop, Nerea Calvillo, e Mark Wright. 2016. What Urban Media Can Do: Why, When, Where & How. Estugarda: avedition Gmbh.
Wexel, Juliana. 2021. “Teatro, audiovisual e streaming: Uma análise sobre o fazer teatral em tempos de incerteza pandêmica na experiência pós-dramática da peça Esperando Godette.” Rotura: Revista de Comunicação, Cultura e Artes, no. 1, 39–46. DOI: https://doi.org/10.34623/sxc1-he90
-----. 2022. “A Letter to Cassandra.” In The city and the myth, editado por Giuseppe Resta, 68–73.
COST Action; Melfi: Libria.
-----. 2023. “Vulva art, aesthetic discourse and feminism: Creation's account of two digital artistic artefacts in site-specific and hybrid space.” In Proceedings Issue No. 11–12/2023, Part I: COST Action – Writing Urban Places. Tallinn: Estonian Academy of Arts, Faculty of Architecture, 24–32.
-----. 2025. “Vulva art e mídia-arte digital: Relato de uma trilogia autoral ciberfeminista.” In Perspectivas luso-brasileiras em artes e comunicação vol. 4, editado por Ingrid Fechine, Jorge Carrega, e Denize Araújo, 76–90. Faro: Universidade do Algarve.
Wexel, Juliana, e Selma Pereira. 2021. “Make me up!: Uma proposta de artefato digital performativo em tempos de ressignificação da arte urbana pós-pandemia.” ARTECH '21: Proceedings of the 10th International Conference on Digital and Interactive Arts, PDF.
Wexel, Juliana, e Mirian Tavares. 2022. “Street art, intersectional feminism and digital media-art: Report on the cyberperformative artefact 'Make me up!'.” In Handbook of Research on Urban Tourism, Viral Society, and the Impact of the COVID-19 Pandemic, editado por Paulo Andrade e Moisés de Lemos Martins, 627–45. Hershey: IGI Global.
------. 2023. “Performing the city from cyberspace: CyberPerformanCity.” In Repository: 49 methods and assignments for writing urban places, editado por Dália Millaá Bernal, Carlos Machado e Moura, Esteban Restrepo, e Lorin Niculae, 122–25. EU COST Action; Amsterdã: nai010 publishers.
------. 2025. “Vulva art and vulvartivism: Report of creation in digital media art.” In Unveiling diverse cultural heritages of otherness: Inventive heritages via hybrid methods and media arts for mobile tourism, under the 'Ukraine Effect' crisis, editado por Pedro Andrade, Eduarda Vieira, Patrícia Moreira, Luís Teixeira, José Pinto, Fernando Contreras, Jacques Ibañez, Cícero Silva, Jane de Almeida. Berlim: Springer. No prelo.
Wexel, Juliana, Bruno Mendes da Silva, e Mirian Tavares. 2023. “Aesthetic reflections on artificial intelligence in video art: Report on the creation of the cyberperformance Aretusa Vox.” In The 10th International Conference on Arts and Humanities (ICOAH 2023), Book of Abstracts. Colombo: International Institute of Knowledge Management (TIIKM).
Zielinski, Siegfried. 2017. “Pensar a arte após os media: a pesquisa como cultura da experimentação viva.” In Ecologia da imagem e dos Media, editado por Claudia Giannetti, 21–54. Lisboa: Nova Vega.
Videografia:
Wexel, Juliana. 2021. Video-Performance Make me up!. Vídeo. Instagram. https://www.instagram.com/tv/CVAOiyPKRqE/.
-----. 2023. Aretusa Vox. Vídeo. Itália/Portugal: Symposium CyPet. YouTube. https://www.youtube.com/watch?v=5ls_Q8yMObg.
-----. 2024. ARETUSA hydro_VOX. Vídeo. Itália/Portugal: 28º Festival de Cinema AVANCA. Vimeo: https://vimeo.com/manage/videos/947875282.
Wexel, Juliana, Filipe Traslatti de Mello, e Mauricio Franco. 2020. ivagination. Vídeo. Plata o Plomo Duo, Lisboa. Vimeo. https://vimeo.com/441350020
Obras de street art:
Felizardo, Carla. Butterflower. 2020. Arte urbana. Rio de Janeiro, Brasil.
Gentile, Mariella. Respira Natureza. 2020. Arte urbana. Lisboa, Portugal.
-----. Take Care. 2020. Arte urbana. Lisboa, Portugal.
Monteiro, Rafa. Toda forma de amor. 2018. Arte urbana. Rio de Janeiro, Brasil.
-----. Yara. 2019. Arte urbana. Rio de Janeiro, Brasil.
-----. Aparecida. 2020. Arte urbana. Rio de Janeiro, Brasil.
-----. Orgulho. 2020. Arte urbana. Rio de Janeiro, Brasil.
Panigaz, Carine. Clit street I e II. 2021. Arte urbana. Lisboa, Portugal.
-----. Vagina Dentada. 2021. Arte urbana. Lisboa, Portugal.
-----. Vulvabell. 2021. Arte urbana. Lisboa, Portugal.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 RHINOCERVS: Cinema, Dança, Música, Teatro

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Articles published or submitted to RHINOCERVS: Cinema, Dança, Música, Teatro are licensed according to Creative Commons Attribution License (CC BY-NC 4.0). Authors agree that:
Copyrights of all articles published are retained by authors with first publication copyright granted to the journal.
All articles are under the Creative Commons Attribution License recognizing the authorship of the publication and identifying that first publication took place in this journal.
Authors have the right to free distribute or make available in private or institutional pages the version published by RHINOCERVS: Cinema, Dança, Música, Teatro provided the original proper citation.
The journal only accepts articles not published previously (except in the form of an abstract or as part of academic thesis), that it is not under consideration for publication elsewhere. After published, the article cannot be published again partial or totally without the editorial board consent.