Andreia Matos


andreiangmatos@gmail.com

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Visuals and sounds out of explorative algorithms — an intentional collaboration with automation.

From subsets of personal photographs, videos, drawings, sounds, to infinite generative loops of chance reinterpretations, to glimpses of lucky beauty.

Photography, ceramics, drawings ...

Photographs...

Academic + other writings.

Audiovisual works..

b. 1999, Viseu, Portugal

Based in Lisboa, Portugal

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Multidimensional exploration characterized by an impulsive + conceptual nature, with a focus on reinterpretation through plastic + algorithmic manipulation.

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  Education

(2024-Present) MSc in Contemporary Culture and New Technologies

from Faculdade de Ciências Socias e Humanas (FCSH), Universidade Nova de Lisboa (NOVA)

(2020-2022) MSc in Computer Science and Engineering

from Instituto Superior Técnico (IST), Universidade de Lisboa (UL)

Specializations: Artificial Intelligence | Computer Graphics

+ Erasmus Exchange Programme at École Nationale Supérieure d'Informatique et de Mathématiques Appliquées (ENSIMAG), Université Grenoble Alpes (UGA), Grenoble, France

(2017-2020) BSc in Computer Science and Engineering

from Instituto Superior Técnico (IST), Universidade de Lisboa (UL)

  Experience

(01.2023-Present) Data Scientist Nokia, Lisboa, Portugal

Research and Development on AI Algorithms

(12.2023-03.2024) Research AssistantTallinn University (TLU), Tallinn, Estonia (Remote)

Movement, Digital Intelligence and Interactive Audience (MODINA)

(03.2022-07.2022) Invited Teaching AssistantInstituto Superior Técnico (IST), Lisboa, Portugal

Communication in Engineering Course

(09.2021-10.2022) Research InternINESC-ID, Lisboa, Portugal

Group of Artificial Intelligence for People and Society (GAIPS)

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(2024) Screening Team — Olhares do Mediterrâneo, Women's Film Festival, Lisboa, Portugal

(2022, 2023) Production Support — Doclisboa, International Film Festival, Lisboa, Portugal

(2022) Production Support — Queer Lisboa, International Film Festival, Lisboa, Portugal

(2020-2022) Co-Founder — Kino Kave Cineclub, Autonomous Section of the Students' Union

























































































































(2024) Orchestrating Embodied Connections with Pose Estimation and Interactive Movement Matching using Machine Learning | Primett, W., Correia, N. N., Hieda, N., & Matos, A. | MODINA
New methods for movement capture and modelling have inspired a shift in embodied interaction design. With machine learning tools being at the forefront of technical performance for goal-oriented movement sensing tasks, movement data modelling has been studied to support novel interaction paradigms informed by theories of embodiment. By coupling two of these tools, we orchestrate a real-time interactive system based with the aim of dynamically learning from and recalling past movements. Our main contributions begin with a technical outline for a system that leverages human pose estimation and similarity, from which we curate a dataset for movement matching. We then provide an analysis of the user experiences that transpire in situ as an interactive installation, supporting design decisions related to fostering embodied connections with movement data in ways that are both interpersonal and intertemporal.
(2022) On the Feeling of Acoustic and Visual Tension in Generative Art | Computer Science Master's Thesis, Instituto Superior Técnico, ULisboa
From a comprehensive literature review of generative art through the lenses of acoustics, visual art and their interrelation, accompanied by an exploration of tension from a psychological and creative standpoint, a context-aware bi-parted experiment was performed through an interactive application, with a focus on core visual and acoustic features. The acoustic aspects at study were waveform, attack, release, frequency and amplitude; the visual ones were symmetry, thickness, orientation, irregularity and angularity. User tests were conducted with 60 people with the aim to conclude on the impact of the various aspects on felt tension, with a focus on their paired interactions within each domain, as well as on tension's relation to arousal and valence. Our analysis shows clear associations between certain feature values and extreme levels of tension, high and low, as well as several two-way interactions between features, particularly among visual features; it also shows tension to be strongly positively correlated to arousal and strongly negatively correlated with valence.

(2024) From the Labyrinth to the Angel: Body, Identity, and Technology in the Work of Maria Klonaris and Katerina Thomadaki | Ciberculture, FCSH
This paper explores the work of Maria Klonaris and Katerina Thomadaki, focusing on Double Labyrinthe and Le Cycle de l'Ange, and their technological subversion of traditional narratives about the human and identity, proposing their relevance to contemporary issues.
(2024) Fiction as a Butterfly: Fluttering Through Contemporary Issues | Contemporary Thought and Art, FCSH
A commentary on the State of the World – State of Art cycle. The butterfly is proposed as a theoretical and aesthetic tool, a useful fiction, to reflect on contemporary dilemmas and their artistic manifestations.

(2024) untitled | visual essay at printed zine by The Limits of The Body, Edinburgh, GB
Personal exploration of the tensions between identity + perception, reflection + reality, of (im)materiality, through the complexities of cyberspace and the existential longing for unity.
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(2024) Aparecendo, Desaparecendo, Borboleteando

Audiovisual essay.






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(2024) {PRINT | PUNCH}

A woman weaves among fibers and cables.

Experimental, Short, 8mm

Cast: Inês Margarida Correia | Film Development: with assistance of Rita Ruivo | Film Scanning: Ocho y Pico Lab






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(2024) outputs_fragmentos_reflexos

A blend of personal visuals captured over years of creative experimentation. These are incomplete or abandoned works — a personal reflection on the cycle of trial, failure, and reinvention. It explores the unfinished artefact as the essence of the process, as the end itself.