What myths and memories do we deposit in our artifacts? This question guides Nativo Digital, a piece that investigates symbolic continuities between faith and technology, magic and device, ancestry and digitality. Looking at the sky from a cave or a screen, seeing figures in fire or in pixels, carving symbols into stone or into a digital wall—these are some of the parallels the work explores.

Using datamoshing as the main technique—a method of forcing digital glitches—the original contours and timelines of various images are dissolved, allowing them to coexist in a single visual stream. This flow intertwines original footage, AI-generated imagery, fragments from nature and history documentaries, TV series, and remnants of obsolete interfaces like MSN alongside current ones like TikTok. All this material undergoes a process of decomposition—not as a nostalgic gesture, but as an active rereading of the images that surround us, presenting emojis and pixelated files as sacred remains of a culture that archives and forgets relentlessly.

The resulting aesthetic is deliberately baroque, saturated, and mutating. It acts as a ritual of dissolution: breaking the image until it ceases to be an image and becomes flow, polysemy, and threshold. The sound design reinforces this ritualistic quality. Composed entirely from the human voice and digital manipulations, it creates an ambiguous atmosphere—both shamanic and cybernetic—where words fade, bringing to the fore the instinctive aspects of sound and song, bodily resonance, and rhythm.