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Gabriel Pereira



Gabriel Pereira is a PhD Fellow at Aarhus University (Denmark). His research investigates data and algorithm infrastructures, especially how computer vision algorithms mediate our relationship with the world. The research methods he deploys involve both qualitative research, cultural analysis, and practice-based inquiry. Projects with Gabriel have been exhibited in venues such as the 33rd Sao Paulo Art Biennial, the Van Abbemuseum, IDFA DocLab, and Itaú Cultural. He is a Researcher in Residence at the Center for Arts, Design and Social Research.

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Stateless Mind #3

Future Movement Future – REJECTED

Duration 09.32 sec


In a not too distant future, an anonymous researcher and their team applied for funding to develop their newest invention: a new algorithmic model for smart cameras which would allow to analyze the movement of cars at a previously unheard-of scale. This system was said to enable new forms of predictive capabilities to emerge: the algorithm would be able to, for example, predict the route drivers wanted to take but had not yet taken – including, for example, their occult inner desires for getting away with a secret lover. A panel of academic reviewers from three different universities audited and reviewed the proposed system. All that is left are segments of the video-report resulting from this meeting, which became an urban legend among technology researchers. “Future Movement Future – REJECTED” is the story of a dystopian surveillance future that was barred by institutional refusal. It importantly reminds us about how total surveillance, the “almighty algorithmic eye,” may end up seeing-predicting much less than imagining-dreaming.

Stateless Mind #3

October 2021

Seminar Presentation

History of _rt: Experimental mapping



In this presentation, Gabriel discusses some aspects of the experimental and collaborative project “History of _rt.” How may we radicalize the notion of Art and think differently about its official and unofficial (his)stories? How may we evaluate the limited perspectives of the official “History of Art” taught today, while also imagining alternatives? From mapping the normative to charting otherwise, this project seeks to challenge the complex, relational articulation of art and history.

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