lufoart, Author at Lufo Art

Prototype of the Digital Media Art Project

Digital Media Art Project: Prototype

June 20, 2022

On the definition of my digital media art project, and aiming to complete the a/r/cographic methodology, I will develop the prototype. For those who are not familiarised with what I am doing and talking here, you can follow the recap that follows. A/r/cographic methodology for the definition of a Digital Media Art Project: Inspiration: here and here Trigger Intention Concept: here and here For writing this entry, I switch back in time to October 2021 when I presented the artefact I’m Watching You/Me or IMWYM for short (Olivero & Araújo, 2021). Understanding and documenting this 1st prototype with the current knowledge and methodology, will be the base for the development of a 2nd edition. Hence, I intend to present IMWYM 2 at the Retiro DMAD 2022, as the corolary of this PMAD. IMWYM 1 Components Functioning Mixing inputs Interaction Innovation Conclusion References Figure 1 – First prototype of the digital media art project IMWYM 1 IMWYM is an artefact for enhancing the use of Hybrid Immersive Models within the field of digital arts. The aim of IMWYM is to stimulate the under-explored form of expression that spherical perspectives represent by facilitating, demonstrating, opening, and extending their use both with general applications and in particular with digital art live presentations. The first version that I present today, focused on the live execution of spherical drawings for an audience. Within this first prototype many things resulted a bit rudimentary, due that some parts were not fully developed for many different reasons. However, this 1st edition also achieved great goals, such as the effective demonstration of one possible way to achieve spherical drawings for an audience in a performative setting with concurrent interactive live feed of the VR visualization. Components The components of IMWYM 1 were: IN-1: a physical drawing (a paper on the wall) IN-2: a digital drawing (either from a drawing pad or a tablet*, or from a drawing software such as Eq A Sketch 360) IN-3: a pre existing equirectangular media (drawing, picture, or video) IN-4: a mobile phone with movement and location sensors IN-5: a high-resolution camera OU-1: a projector OU-2: an external monitor* * These components were not used during ARTECH 2021 due to logistical issues. However, they were both available and functioning, as it can be seen within the video below. Figure 2 – I’m Watching You/Me. 1st edition. Aveiro, Portugal, Congress ARTECH, 2021 Functioning The basic functioning of this first prototype is divided in three parts: The artist (AR-1) chooses one medium between IN-1, 2 or 3 based on a personal preference. The software captures (through IN-5) and converts the equirectangular media into a classical perspective, which is shown on the screen (OU-1). A visitor interacts with the visual sphere by sending position coordinates from the mobile phone (IN-4). The following video shows the functioning and characteristics of the artefact. Furthermore, it also exposes how to interact with the visual sphere using the phone. Finally, there are some drawing examples both my own and from students. Mixing inputs The inputs are media generated either with traditional (IN-1) or digital techniques (IN-2, IN-3). IMWYM 1 focuses on the use of drawings, although we can also use photos and videos as long as they follow the equirectangular projection (Figure 3, left). A very important feature that IMWYM 1 introduces is the possibility of mixing inputs. Indeed, through TouchDesigner’s interface we can select up to three parallel inputs. Meaning, I can compose an equirectangular drawing interactively and on-the-fly together with another artist or visitor. Finally, the VR environment results a superposition of the different inputs, and it can be seen through the output screen (OU-1). Some examples of mixed interactive compositions could be: 360 video (IN-3) + Physical drawing (IN-1) Physical drawing (IN-1) + Digital drawing using Eq A Sketch 360 (IN-2) Equirectangular picture (IN-3) + Digital drawing using a drawing pad (IN-2) + Physical drawing (IN-1) 3 different inputs A handmade physical artwork created on-the-fly An existing media A drawing made with software (Eq A Sketch 360) One of the features of IMWYM is the possibility to mix inputs on-the-fly Figure 3 – Selection of inputs Interaction If the artist chooses IN-1, then camera IN-5 captures the drawing on-the-fly. Thus, the software converts and mixes the inputs, and streams the result in VR modality through OU-1 (Figure 4, left). If the artist chooses IN-2 or IN-3, it has visual feedback both in VR modality through OU-1, and in equirectangular mode through OU-2. OU-2 improves the interaction by separating the interface from the software drawing board of IN-2. A visitor VI-1 interacts with the visual sphere through a mobile phone IN-4. Effectively, this can be done either while I perform a live drawing session or while the artefact shows an already existing drawing (Figure 4, right). IN-4 sends OSC data to the software through compass and gravity sensors. Every new position of the phone updates the camera within the virtual sphere, thus discovering a new part of the drawing. Finally, OU-1 shows the result in VR modality with a Field of View previously set (e.g., at 60º), i.e., the spherical perspective is converted in a moving linear perspective according to the camera’s position. IMWYM allowed live spherical drawing and a parallel VR visualisation The artist draws in equirectangular format, and another user interacts with the mobile phone Interaction The visitor interacts with the visual sphere sending OSC from the mobile phone to the software Figure 4 – Interaction Innovation For producing this prototype, I considered the state of art for different spherical perspectives (equirectangular, azimuthal equidistant, cubical) and the software available for their practice. Within that state of the art, IMWYM highlights its utility introducing the innovation of allowing live spherical drawing and its parallel VR visualisation, a task for which there were almost no software options in October 2021 (Olivero & Araújo, 2021). I composed IMYWM 1 using the free non-commercial version of TouchDesigner. I choose this node-based programming before entering a pude coding stage. This way, I managed to do a general evaluation of the workflow with the great versatility of TD. The exhibition during ARTECH 2021 allowed me to see the reaction of the public, to gather some very important opinions about the artefact’s usability and perception, and certainly, to detect issues and problems. For example, it was a big challenge to migrate the software at the…
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The Secret of My Eyes

June 6, 2022

The Secret of My Eyes is a small painting of 12,9 x 18 centimetres made back in September 2017. I can recall few but important things about the moment in which I drew it. For example, I remember that geographically I was in Italy, more precisely in Salerno… Yet, my mind was somewhere else… Let’s try to figure out where: Nosce Te Ipsum Dolina and Borges The artwork NFT The Secret of My Eyes in progress © Lufo Art, 2017 Nosce Te Ipsum During those years a big influence marked my days: George Gurdjieff. In fact, we talk about years in which I was constantly questioning myself about the sense of being. But… being what? Being nothing, just being. This might sound a bit of a silly game of words… Nevertheless it is a very simple yet powerful reflection that recalls very ancient teachings from different schools, and the legendary greek γνῶθι σεαυτόν, namely Nosce Te Ipsum in the Latin translation, or know thyself in English. The person who introduced me to those concepts was K., with which I used to meet very often those days… … Ok, yes, we were dating ????, but that is not the point: K. introduced me to G., E., E., and A. With them, I shared beautiful and intense days, learning about me as a human and about the human being as a part of a species. While meeting with that group, I read the books that P. D. Ouspensky wrote about G. Gurdjieff: first, Fragments of an Unknown Teaching (AKA In Search of the Miraculous), and then The Fourth Way. These books and their teachings totally marked a stage of my life. Furthermore, they are still with me (the books) and within me (the teachings). Nowadays, I can see Gurdjieff’s teachings on The Secret of My Eyes: for example the triangle, as one of the mystic figures that I like the most, then the eye, and finally the person which is… reflected on the eye or captured within? Take a look and you tell me: The Secret of My Eyes in progress © Lufo Art, 2017 Dolina and Borges Other influences while drawing The Secret of My Eyes were Alejandro Dolina and Jorge Luís Borges. Dolina has been a great companion not just for this painting, but also for my travels, for my sleepless nights, and in general for my life. Indeed, the flow, thoughts and reflections of his podcast La Venganza Será Terrible are there: the pleasure of the lecture (you might want to listen to this amazing chapter about it), the reference to Ramón Raquello and his Orchestra, etc. Jorge Luís Borges is also there. Indeed, we can read: I offer you the loyalty of a man who has never been loyal… which is a reference to one of his English poems. Also, there is a mention to Rafael Cansinos, who has been of great influence to Borges himself. Indeed, much probably I knew about Cansinos while listening either to Borges or to Dolina. Both Dolina and Borges were very present within those years of my life. Effectively, I used to listen to them almost every day: on the train while going to work, with my headphones during a walk coming back home, or when I was painting… View this post on Instagram A post shared by Lufo Art (@lufo.art) The Secret of My Eyes The artwork explores music, literature, surrealism, space, time… Indeed, there are the influences mentioned above but also a mention to The War of the Worlds of H.G. Welles, which I might have been listening to during one of the drawing sessions. Furthermore, the many circles, dots, lines, and colours connecting one thing with another, are also a symbolism of how those concepts where connecting the ideas and feelings that I had in my mind. Finally, at the centre of everything there is the self, the person… This tells and reminds us that humans cannot see themselves using their own eyes… So… here it is, there you have…. The Secret of My Eyes: The Secret of My Eyes © Lufo Art, 2017 NFT Last but not least, a little surprise: The Secret of My Eyes is the second item on Lufo Art NFT’s gallery. Right as Instant, this artwork aims to help the project Proof of Humanity following a scaled scheme of burning. Yet, The Secret of My Eyes has a surprise: it comes with an unlockable content… oh dear, but now… the anxiety! What could it possible be?! What do you think about The Secret of My Eyes? I read your comments! ???? Have the best day of your life! Tschüss Dr. Luquitas

Digital Media Art Project: The Musicality of Drawing

June 5, 2022

The concept “Musicality of Drawing” explores how to express music using hybrid immersive drawings, and how visitors perceive the musicality of a spherical perspective. A/r/cographic recap: within the previous entries, I completed the following steps of the a/r/cographic methodology: Inspiration, in this and this article Trigger Intention The next definition is concept, for which I developed a first part here. Hence, the aim of this entry is to complete such a development: Background Methodological definitions Previous artistic experiences Musicality Here and now The Musicality of Drawing Conclusion References Musicality of Drawing – Drawing at the Godot Art Bistrot during the concert of Mary Ocher © Lufo Art, 2017 Background Firstly, and according to the previous entry, the definition of the concept should consider, first, methodological definitions, and second, previous artistic experiences. Therefore, let’s try to develop a bit further these two points, so to understand their connection with the concept. Methodological definitions Within the module MIPA (Metodologia de Investigação e Produção Artística) of the DMAD PhD program, I developed a short article. I called that article “Definiciones metodológicas para una investigación basada en la práctica artística con Modelos Híbridos Inmersivos” (in English: “Methodological definitions for practice-based research with Immersive Hybrid Models”). You can peek the essay right below this paragraph or download it here. In that article, I explained a couple of useful things that structure the methodological approach. For example, I talked about the connection of the current digital media art project with a previous ongoing research. In that regard, the previous research developed the so-called “Hybrid Immersive Models” (HIM) and their application using the cubical perspective (Olivero, 2021). Furthermore, I also considered the advantages and disadvantages of following the already known approaches for social and natural sciences, i.e., the positivist and the interpretative approaches. Also, I summarised how these more classical approaches do not fully fit for an art-practice based research. Indeed, the art-practice based research field has developed in the last years its own methodologies (Sullivan, 2005). Within them, Patricia Leavy (2020) structured some criteria for understanding if an approach is valid or not, from which I rescued strategic points to consider, such as Question-method Fit, Translation, Holistic Approach, Data Analysis, Usefulness, Audience Response, Artfulness and Multiple Meanings. Previous artistic experiences On the other hand, this second part is connected with the real situations that I have dealt with as an artist. Indeed, as explained within this entry I gathered experiences and important reference points while creating handmade VR drawings in equirectangular format and listening to live music. Therefore, the concept should consider these aspects from a more focused point of view: when I had those experiences I was not really aware about what I was doing. So, I would like to explore them specifically now: how do I see music? What is the effect of music on my graphical output? Do I have a sound/graphic alphabet? How does a HIM collaborate on expressing that connection? Musicality According to Düchting (2013), one of the strongest elements stimulating Kandinsky’s artistic sensibility was music. For example, he had a strong visual experience during the representation of the opera “Lohengrin” of Wagner: “I felt that I had all my colours in front of me. Disorderly and almost absurd lines were forming in front of me” (p.10). Thanks to his synaesthetic ability, Kandinsky perceived the power of music and at the same time sensed the forces of painting, which had yet to be discovered. The relationship between colours and sounds, which for him was not only supposed but actually existed, captivated him to such an extent that this secret correspondence of the arts became one of the pillars of his artistic convictions, even the starting point of his painting (Düchting, 2013, p.10). Now, when I look back to my own experience in 2017, I notice that the visual expression on my drawings is not connected in the same way with “what was happening” while I drew them. CamposGodot (left) Lo Schifo Moop (right) © Lufo Art 2017

Digital Media Art Project: Narrative, Interaction and Fruition

May 2, 2022

Narrative, interaction and fruition are key elements for structuring a Digital Media Art Project. Indeed, these components develop the methodological approach of our art-practice based research. Furthermore, these key elements structure and characterise the project and, consequently, define its future developments. In this regard, I was asked for the definition of narrative, interaction and fruition elements within my project. So, here we go: Pre-concept: the Musicality of Drawing Narrative / Development Interaction / Evolution Experience / Fruition Conclusion References Figure 1: behind the scenes of the exhibition I’m watching you/me © Lufo Art, 2019 Pre-concept: The Musicality of Drawing Before entering the development of narrative, interaction and fruition, I will need to mention what I have in mind for the concept of the project. Afterward, we will understand better the following concepts. Hence, the aimed concept is “The Musicality of Drawing”. It stands for questions like how do we see music? What music do you hear watching to a certain drawing? In other words, I would like to dive deeper on the interaction between a drawing, a VR environment, and live music. Although the concept will have a fully dedicated entry, I would like to leave a note for the future developments. Its definition should consider: first, the methodological definitions, and second, the previous artistic experiences. The former were developed within the essay Methodological definitions for practice-based research with Immersive Hybrid Models (Olivero, 2022)*. The second part is connected with the real situations that I have dealt while creating handmade VR drawings using the equirectangular format, and listening to live music (cfr. PMAD – The Starting Point). *A short article for the module MIPA (Metodologia de Investigação e Produção Artística) Narrative /development Will your artefact tell a story? Allow you to live part of a narrative? Will it lead the audience to a conclusion? Or will it be more atmospheric/environmental, relying on sensations? Keeping the concept in mind, I introduce two versions of the artefact. Each version plays and explores different parts of the same narrative, although with a different interaction and fruition. In short, these are two different ways for playing with something visible and something invisible, i.e., a VR handmade drawing and the sensations that some music provokes respectively. Versions v1 On the one hand, the v1 will be the MVP (minimal viable product), thus the functional version for the Retiro 2022. In detail, this version focuses on the subjective reading, i.e., the phenomenological social reading (Lee, 1991, pp. 347–348, Olivero, 2022, p. 8). That is to say that the narrative focuses the experience that the visitor has during the fruition of a special set of media. In particular, this set is generated and/or gathered by the artist. Henceforth, the artefact has the goal of understanding how visitors relate a visual artwork with a musical expression. v2 On the other hand, v2’s implementation will rely on two things: first, the time available before the Retiro. And second, the real developments achieved before July. Otherwise, v2 will be implemented after, as a complementary work for the thesis. The v2 of the artefact includes the previous features plus an extended modality: expression. Hence, the user can also contribute to the visual product. This version of the artefact should align with the inquire’s definitions made on (Olivero, 2022, p. 8). In this case I focus: first, on a phenomenological social construction (both reading and expressing). Second, on a hermeneutical exploration. In fact, v2’s narrative should bring people nearer to spherical perspective basic knowledge. Consequently, showing them a new way of thinking and expressing. Indeed, even a person without any knowledge on perspective should be able to learn fundamental concepts by interacting with the artefact (by trial-and-error). Figure 2: Flow of thoughts about “The Musicality of Drawing” Communication How will these aspects be communicated? Both versions of the artefact should have elements pointing out the project’s functionalities. For example, the interaction with the VR environment can be highlighted as it follows: first, setting up a general dark configuration. Second, using a directional light, right on top of the element that commands the interaction (a mobile phone). Furthermore, graphic material (e.g., brochure, flyers) should accompany the artefact to let visitors understanding how the installation works. Also, there might be the possibility of looping a video if a secondary computer or a screen are available. Finally, I shall thoroughly study the interface for giving a great user interaction experience. In this case, working with an UX/UI designer might be also helpful. Interaction / Evolution How will there be interaction between the public and the artefact? Will the artefact evolve according to that interaction or will it be immutable, always delivering the same content and the same experience? v1 Thus, V1 should have available the same quantity X of paintings and songs. Consequently, the user will be able to choose a different drawing and a different song. In fact, X2 possible output combinations. v2 On the other hand, v2 puts a certain input so to start. However, it allows new artworks and/or their reuse/vandalisation. Therefore, the artefact evolves and goes more complex according to the interaction. Indeed, v2 output is a social construction thanks to the possibility of allowing simultaneous collaborations. Interaction modality Exhibition of graphical and musical inputs. The visitor watches and interacts with the VR drawings while listening to the music.* The visitor pairs a certain music with a certain drawing. A survey is conducted to determine the socio-phenomenological conditions of the reading. * Depending on several factors, I could perform a live drawing session during the Retiro. To clarify, the live performance depends on the possibilities of transport, the physical space availability, the developments for calibrating the camera, etc. If I manage to do the live performance, I will be using headphones and hearing a songs/artist while drawing. Therefore, visitors will watch the visual output projected onto the screen. Furthermore, they will interact with it using an external mobile device (Figure 3). Then, they would be able to choose a song and select the best match.** The expression modality is compatible with the live drawing session. To clarify, up to three artists / collaborators can interact simultaneously. Exhibition of graphical and musical inputs. The visitor watches and interacts with the VR drawings while listening to the music.* The visitor select between…
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Introducing Lufo’s NFT art gallery

April 20, 2022

Today is a wonderful day: I “inaugurated” my NFT art gallery at OpenSea by loading my first artwork on it. So, are you curious? Let me tell you how did I arrive until here. The NFT community of Proof of Humanity Since January 2022 I’m participating within the community of Proof of Humanity. This project seeks to promote a Universal Basic Income as a way of combating against poverty and inequality. To do so, the project uses cryptocurrencies, and the powerfulness of the blockchain technology running on the net of Ethereum. Within Proof of Humanity, there is a growing community of NFT artists and collectors. Their work is currently expanding to the whole metaverse, promoting artworks and collaborations that help the project. Consequently, these collaborations help to increase the value of the UBI token (the “coin” of the project). You can join or just peek the Telegram chat of the community here. How does this work? Well, basically, there is a collection at OpenSea called $UBI pyromaniac items. The artists collaborating within this collection burn the 50% of the artworks’ profit using the UBI burner. As a consequence, the burn of tokens help increasing the value of the token. POAPs Within the NFT community of Proof of Humanity, I proposed to use Instant as the background motive of a POAP (Proof of Attendance Protocol). Luckily, the community took very well the idea and released the first POAP today, announcing it with this twit. These POAPs will be distributed for free to attendees of the community talks in Spanish, which hold every week on the official group of Telegram. Here is how the first POAP looks like: The first POAP for Proof of Humanity using “Instant” © Lufo Art, 2013 Instant as NFT It has been a while since I wanted to create my NFT art gallery at OpenSea. Nevertheless, even if my profile was created on November 2021 I just uploaded my first artwork today… for one reason or another I couldn’t find the time or the space do it ????????‍♂️. Helping $UBI and Proof of Humanity was a wonderful and nice motivation to do it. However, I must confess that I also have got some help and “a push” forward from the PoH NFT community. Thanks therefore to all of them, and specially to Laura Leticia Lopez (AKA Lety) who will help with the distribution and the promotion of the NFTs. The idea behind the POAP is to promote the NFT the artwork Instant and to sell it as part of the $UBI pyromaniac items ???? ????. Furthermore, Instant is also the first item of the collection with the concept Memories of the Humanity that I have proposed as a way of gathering artworks. I defined the concept as “an artistic point of view about our human side within the digital world, and about the digital side within the physical world“. No more words, here the NFT goes! Lufo’s NFT art gallery With the NFT of Instant, I have no more excuses, so now you can visit my NFT art gallery at OpenSea: I’m very very glad to have started my NFT art gallery. Indeed, I think that as a contemporary and a digital artist this is something not just necessary but almost basic within our days. Hopefully, I will add more artworks soon now that I have a “real excuse” to keep it updated. Finally, if you are interested into participating within the community of PoH, joining the project or knowing more about it, then I recommend you to do three things: First, join the official Telegram groups in English and Spanish. Second, watch these videos from Pablo who explains thoroughly well and step by step all about how to start with crypto, how to join the project and much more. Third, to take a lot of care about scammers! Do never and ever give your seed phrase or follow links that ask you to connect your wallet, and remember that no admin will ever talk you first on private messages. What do you think about NFT art, and the UBI pyromaniac collection? Leave me a comment below, I’m reading you! ???? Have the best day of your life! Tschüss Dr. Luquitas

Instant, the snapshot of a dream

April 20, 2022

Instant © Lufo Art, 2013 The artwork Instant was born in 2013 as a proposal for the contest Skywards Future Artists. According to the contest’s jury, the artwork did not match the requirements, so it was never took in consideration as a candidate. I was sure to have matched all the specifications, and ask them to clarify what was the problem about… but they never replied me back 🥹. Artwork’s concept With Instant I tried to made possible an impossible vision: the shadows reflected on the other side of where they are supposed to be, the hand ¿opening? ¿closing? around that… ¿building? ¿Device? that is ¿falling? ¿raising?… The artwork is the snapshot of a dream, where everything is confusing and surrealistic, but at the same time totally possible and understandable (for who dreams it). Instant (process) © Lufo Art, 2013 Context and curiosities When I painted Instant, I was living in a university residence at the very centre of Córdoba, Argentina. The place was simply horrible: I shared room with three more persons, the “bedroom” was very small, maybe even less than 10 m2… The kitchen was something impossible to use and I don’t want to recall the traumatising memories in the bathrooms…. I remember there was the space for two bunk beds and a tiny corridor in the middle, nothing else. To one side, there was a window from which the beautiful eyes of L used to appear for some time… To the other side of the room, there was the door to a bathroom with double door, shared with another similar room with even more people…. … who knows, maybe when I drew Instant I was wishing just to get out of that place. René Magritte’s artwork In 2017, got such a big surprise when I visited the Musée Magritte in Bruxelles. I was walking among René’s wonderful paintings and enjoying his work when I found a poster project from 1938 that brought me back (or forward?) to 2013 and to Instant. Such a curious coincide, isn’t? Poster project for the Belgian textile workers’ union (La centrale des ouvriers textiles de Belgique) © René Magritte, 1938 What have you done with you artwork Luquitas? The original drawing finished at the hands of a person that used to do my days happier: A. I remember that I knew that she was going to pass through Córdoba’s bus main station for some and stop there before heading to her city again. When I knew it, I ran to the station to meet her, and I brought the drawing with me. Without even thinking it, I gave her the drawing, feeling that she was going to be someone who would appreciated it. I hope that I was not wrong although I never knew what was the final fate of Instant. In another occasions (after and before 2013), I drew spots from the city with A., sharing beautiful moments of expression and silence with her. I saw her a couple of years ago again, but sadly after that last meeting our connection “vanished” up to the point that we never talked again… Well, at least I have a wonderful digital version of Instant. Closing The artwork Instant has had many interpretations from friends and art lovers. There are no few persons that see explicit sexual components on it: a vagina, even a penis in the place of the thumb. Honestly, I never had the will to include such expressions but, in the end, how to be sure? Does it matter? I know that I wanted to mix several words: the reminiscences of the Sagrada Familia that I saw for the first time two years before this painting, the vernacular architecture of the Amalfi Coast from Italy, the expression of the eyes that enjoy what the mind is creating… What do you see in Instant? Write me below, don’t be shy! 🥰 Have the best day of your life! Tschüss Dr. Luquitas

Digital Media Art Project: Inspiration and Intention

April 6, 2022

Defining the Digital Media Art Project During the definitions of the Digital Media Art Project (PMAD) we were asked to define two important aspects: Inspiration and Intention. One way of doing this is following the three axis of the a/r/cographic scheme, that is, defining what we expect for our PMAD in terms of function (ranging from conformist to disruptive), skill (ranging from ineptitude to mastery) and aesthetics (ranging from indifferent to passionate). These three axis, let us remember, define a three-dimensional space in which we can position a PMAD according to the a/r/cographic methodology (de Veiga, 2019). Function First of all, I would like my PMAD to represent a different way of doing things. Meaning, that I point to have a disruptive rather than a conformist function. What is this disruption based on? Ironically (for a digital media art project), this disruption is based on the denial of digital technology. Well, not a full and frontal denial, but a temporary detachment: we take a step side, we reflect, and then we come back to be all our way within the digital medium. Let me explain myself better: this research is focused on the Hybrid Immersive Models (HIM). A HIM is a mixture of physical and digital media composed of: a spherical perspective drawing (an anamorphosis), a virtual environment, and a physical polyhedron (e.g. a sphere or a cube). Both the virtual environment and the physical polyhedron are created from the original drawing. In turn, the drawing can be physical or digital, but it has the primary characteristic of being created methodically by the draftsman, i.e. not obtained automatically by an algorithm, but thought out and constructed element by element through logical relations and deductions. Panoramas within the digital In the (purely) digital process, a panoramic picture can be created (for example) by the following workflows: Creation of a 3D model -> Automated generation of the panorama Collection of points with a laser scanner -> Positioning of the points within a 3D matrix -> Projection to an observation centre -> Automated generation of the panorama In both cases, the artist will most likely not understand how the panoramic image was generated. Although this is not something bad (we do need to know about microelectronics to use the computer!), one implication of this is that by the moment in which the trusted software goes out of circulation, the artist may find himself as a tool-dependent-artist. Panoramas within HIM On the other hand, on a HIM the panoramic image is created element by element, using a different way of thinking: whoever builds a panorama does it thinking about its components, relating, grouping, manipulating and understanding them. A guarantee of this is that what is not understood from a spherical perspective results evident in the virtual product. A HIM is a process that forces* logical thinking, spatial understanding and the correlation between a certain space and its representation. In other words, a HIM gathers the analogy between the model that the person has in the mind and the immersive visual result of its representation. If you want to learn more about handmade panoramas you can read this entry. This research aims to investigate how a HIM is thought, nurtured and positioned from and among the concepts of digital art itself. The very genesis of a HIM is associated with computer technology, since without the digital it would not be possible to create, visualise, or create the virtual environment or other essential components of a HIM. In other words, we are not dealing with the digitisation of an existing analogue process, but with a model that is native to both the physical and digital domains. *A small note: this “forcing” situation is actually during the first phase, like when one learns to drive a car. After the mechanism has been incorporated, one does not “think” about it as much, and one can release more of one’s “creative libertarian drive”. It is clear that not all of us are obliged to think, but not all of us are obliged not to think either. Skill As for the skill axis, I aim for the PMAD to cover the full length of the axis. That is to say, I expect to cover the needs and expectations of both those who fully understand how spherical perspectives work, as well as those who are seeing them for the first time. This is an ambitious goal, but a likely one, since what the artefact should have is an interactive form of visualisation that shows the correspondence between what happens in the flat drawing and the virtual environment. Therefore, a new user who “plays” at drawing will begin to understand the basic principles from the practice itself. Instead, the advanced user will know already what to do, and it will go to the maximum of what the PMAD can give. Aesthetics Finally, on the aesthetic axis, I am all fire and passion as artist, but I am also a slow burner one. Therefore, I would like the PMAD to be supported by a striking, colourful, electric, but smoothly paced visual experience, where images flow “at a human pace” (like walking through a forest) rather than “at a breakneck pace” (like trailers). In this sense, the interaction with the virtual environment will be fundamental, as it stimulates the person to “be within the art”. For this, I draw inspiration from projects that I have already mentioned in this post, such as “Sketching in Space”, which solve excellently well what I have in my head for my PMAD, although they do it with pure digital technology. Closing The PMAD that we are exploring (and discovering) begins to be less than a nebulous definition. Some objectives and definitions are becoming clearer, such as its function, aesthetic and skill intentions. This, plus the definitions presented at the MIPA (Methodology of Research and Artistic Practice) module, the roadmap to follow is beginning to take shape. Bibliography da Veiga, P. A. (2019). A/r/Cography: Art, Research and Communication. In Proceedings of the 9th International Conference on Digital and Interactive Arts. Association for Computing Machinery.…
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Digital Media Art Project: The Creative Process

March 17, 2022

The creative process is an essential part within the developments of a digital media art project. For those readers who are first landing here, I recommend you to check first this previous post where I briefly introduce this project (that it has no name yet ????). The methodology that I am following is called a/r/cography (da Veiga, 2019), and it is structured with the following (non-linear) steps (Figure 1): Figure 1: The stem of the a/r/cography rhizome © Pedro Alves da Veiga, 2019 Two stages of the creative process I will develop the 7 steps of a/r/cography in two parts: I – Concept and design This stage includes the first five steps, namely: Inspiration, Trigger, Intention, Conceptualization and Prototyping. This stage focuses the pairs narrative/development, interaction/evolution and experience/fruition. II – Implementation This phase includes steps 6 (Testing) and 7 (Intervention), and it focuses into testing with a restricted audience, error detection, and correction. The restricted testing aims to prove and improve the artefact pre-public presentation. Conceptual, technical and funcional aspects in a work of digital media art Let’s quickly remember some words from what should the artefact do?: “to fully appreciate a spherical anamorphosis it is necessary to transmit the correspondence between the “normal view” (seen in VR), and the distorted drawing”. A spherical anamorphosis is a way of immersive drawing, so let’s try to see what digital art has done in this regard, and how that affects the creative process. I will analyse some existing examples of digital media art projects that focus on immersive drawing. The aim of this analysis is the identification of their conceptual, technical and funcional aspects. Then, I will locate these case studies within the 3D space of intention/intervention proposed within a/r/cography (Figure 2). Figure 2: Three-dimensional space of intention/intervention © Pedro Alves da Veiga, 2019 3D DRAWING Within the current repertoire of artefacts for immersive drawing, we find examples applying methods and theories based on polyhedral projection surfaces, as an alternative to the single plane of classical perspective. Such applications have been solved both physically and digitally and in that regard Oliver Grau (2003, p. 349) divides immersive artefacts in two groups: “large-scale spaces of illusion that fully integrate the human body (e.g., rooms with 360º frescoes, the panorama, Stereopticon, Cinéorama, Planetarium, Omnimax and IMAX cinemas, or the CAVEs) and apparatuses that are positioned immediately in front of the eyes (e.g., peepshows, stereoscopes, stereoscopic television, Sensorama, or HMDs). Most of these immersive artefacts mainly allow just the immersive fruition of a certain content. Nevertheless, what I would like to focus are artefacts that should allow: first, the creation of an immersive drawing, second, the interactive immersive fruition and visualisation of such a drawing, and third, an instant stream back of such a fruition. CavePainting and Sketching in Space Some of the digital artefacts that achieve these goals are recent CAVE-based projects promoting the so-called 3D sketching. For instance, CavePainting (Keefe et al., 2001) and Sketching in Space (Israel et al., 2009, 2010). Both projects have been exploring CAVEs implementation within early conceptual design. https://vimeo.com/54140979 These proposals explore a paper-detached sketching tool, analysing the impact of drawing inside an IVE (Immersive Visual Environment) and using ad-hoc tools. The aimed workflow is to go directly from the designer’s thoughts to a digital model: “3D sketching has the potential to develop towards a new tool that supports creative work and extends the human understanding of the expressive potential in digital space” (Israel et al., 2009, p. 11). These proposals are presented as a viewer-centred perspective artefact, which implies “a mythical camera positioned along an axis extended perpendicular from the center of the screen. Viewer-centered perspective simulates the perspective view from the location of the viewer. To maintain correct perspective, a sensor that continuously reports the viewer’s position to the simulation is commonly used” (Cruz-Neira et al., 1992, p. 65). This characteristic of recreating the right perspective from the simulation accordingly to the observer’s position, highlights either the pre-existence of a 3D digital model, or an automated computing of the image. Therefore, this means that, technically, the artefact works: mapping the movement of the tools within the CAVE device, creating a 3D model, streaming back instantly the image onto the CAVE’s walls accordingly to the user’s position. Thus, we can consider CavePainting and Sketching in Space within the greener zone of the 3D intention/intervention space since: first, they stimulate the artist towards an impressive aesthetical experience, second, they can be used by both neophyte and expert users, and third, their functioning looks fluid and intuitive. Figure 3: 3D space of intention/intervention for CavePainting and Sketching in Space Fluid Drawing Another interesting example of immersive drawing is Fluid Sketching (Eroglu et al., 2018). This project is IVE-based and follows the same logic than the previous projects, that is, it creating 3D models on-the-fly. The main difference is that in this case the 3D models behave like fluids: “Fluid Sketching refers to works of art based on the aesthetics of fluid motion, such as smoke photography, ink injection into water, and paper marbling”. https://www.youtube.com/watch?v=JNvx2Md7xKY Fluid Sketching has been very well solved in their technical aspects of setup and implementation (Eroglu et al., 2018, sec. III, IV). The intention of testing Fluid Sketching is well connected with the output of the test intervention. Users’ feedback gives a clear panorama about what the artefact is like. The overall reading of the project shows that many details of this artefact have been successfully covered. Indeed, the users’ feedback does not point to basic functional features, but mainly to advanced features and functionalities, like color selection, previews, save and interaction with preload models, etc. However, as pointed out by some of the interviewed artists that tried the artefact, Fluid Sketching might actually be a bit overwhelming due to its specificity on fluid-based tools: “There are so many parameters, I can barely keep them in my mind” (Eroglu et al., 2018, p. 6). Some of the future features asked by the artists during the feedback survey is the possibility of a “preview mode to inspect emitted particles without altering the piece of art” (Eroglu et al., 2018, p. 7). Finally,…
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Image for a digital media art project: drawings result from the live painting session at the Godot Art Bistrot, Avellino, Italy © Lucas Fabian Olivero, 2017

Digital Media Art Project: The Starting Point

February 23, 2022

This is the first entry aim to document the evolution of my digital media art project. This project is part of the PhD program in Digital Media Art “DMAD” that I’m currently following. Consequently, I will use this digital journal to collect milestones, inspirations, concepts, intentions, advancements, technologies, improvements, etc. The entries will go forward and back, diving through key concepts. However, they will do it not in a crazy and uncontrolled path, but following the art and communication based research methodology a/r/cography (da Veiga, 2019, p. 335). So, I start explaining the research background and the very first inspiration for the project development. Background My research in the field of Digital Art is very new. However, I have previously researched in the field of drawing, focusing in immersive perspectives with applications in design, architecture and engineering (check here a list with my full research). In fact, between 2017 and 2021 I completed a first research PhD in which I developed techniques for handmade immersive drawings. Such drawings have the particularity that can be converted into VR environments. Important milestones of this research were the first systematic definitions of cubical perspective (Olivero et al., 2019, Araújo et al., 2020). The goal was achieved with the help of my advisors Adriana Rossi and António Bandeira Araújo. Although it keeps going ahead, the investigation settled a transition point almost one year ago with the issuing of “Hybrid Immersive Models from Cubical Perspective Drawings” on March 2021 (Olivero, 2021) (Figure 1). Figure 1: Studies about immersive perspective a) Cubical perspective b) Equirectangular perspective c) Geometrical proportions of the project (c) Immersive navigation (e, f) © Lucas Fabian Olivero On the artistic practice My interest for immersive drawings started during 2017. Back then, I shared classroom giving lessons with Bruno Sucurado in Italy. Meanwhile, Bruno was already practicing these kind of illustrations and introduced me to the equirectangular perspective (Olivero & Sucurado, 2019). So, I got interested in the technique, learned some basic principles, and started to practice it. After that, I was invited to a cycle of live music presentations at the Godot Art Bistrot, Avellino, Italy (Olivero, 2017). As a result, I started to test spherical anamorphosis within live drawing sessions: I attended a total of four events and produced one equirectangular drawing for each of them (Figure 2). https://lufo.art/wp-content/uploads/2022/03/WhatsApp-Video-2017-09-22-at-01.14.31.mp4 Preparing for the drawing session © Lucas Fabian Olivero, 2017 The exhibition of Hybrid Immersive Models Visitors watching the VR results Figure 3: “HIMmaterial: exploring new hybrid media for immersive drawing and collage” at ARTECH 2019, Braga, Portugal, 2019 Closing Currently, the use of spherical anamorphosis within digital art exhibitions requires a big intellectual effort (both from the artist and the visitors), great oral communication skills, and the presence of the artist for a peer-to-peer communication. Consequently, such a setup limits both the artist and the artworks. However, with the current theoretical developments existing for spherical perspectives in the field of drawing it should possible to find a straightforward way for appreciating these exhibitions. In other words, this digital media art project should bring a new way of experimenting spherical anamorphosis that might release the artist and the audience and, therefore, improve the artworks, the exhibition, and the experience of the audience. Bibliography Araújo, A. B., Olivero, L. F., & Antinozzi, S. (2019). HIMmaterial: Exploring new hybrid media for immersive drawing and collage. In P. Arantes, V. J. Sá, P. A. Da Veiga, & F. M. Adérito (Eds.), Proceedings of ACM ARTECH conference (ARTECH2019) (pp. 247–251). ACM Press. https://www.doi.org/10.1145/3359852.3359950 Araújo, A. B., Olivero, L. F., & Rossi, A. (2020). A Descriptive Geometry Construction of VR panoramas in Cubical Spherical Perspective. Diségno, 6, 35–46. https://doi.org/10.26375/disegno.6.2020.06 da Veiga, P. A. (2019). A/r/Cography: Art, Research and Communication. In Proceedings of the 9th International Conference on Digital and Interactive Arts. Association for Computing Machinery. https://doi.org/10.1145/3359852.3359859 Olivero, L. F. (2017, October 3). Live art painting sessions [Art Exhibition]. Godot Bistrot, Avellino Italy. Olivero, L. F. (2018a, January 21). 360 Points of View [Art Exhibition]. Eco Bistrot, Salerno, Italy. Olivero, L. F. (2018b, October 3). 360 Points of View [Art Exhibition]. Passo Duomo, Salerno, Italy. Olivero, L. F. (2021). Hybrid Immersive Models from Cubical Perspective Drawings—Modelli Ibridi Immersivi da Disegni in Prospettiva Cubica [PhD Thesis]. University of Campania “Luigi Vanvitelli.” Olivero, L. F., Rossi, A., & Barba, S. (2019). A codification of cubical projection for the generation of immersive models. Diségno, 4, 53–63. https://www.doi.org/10.26375/disegno.4.2019.07 Olivero, L. F., & Sucurado, B. (2019). Analogical immersion: Discovering spherical sketches between subjectivity and objectivity. ESTOA. Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca, 8(16), 47–59. https://www.doi.org/10.18537/est.v008.n016.a04

La fórmula para vivir eternamente

November 10, 2021

El texto “La fórmula para vivir eternamente” fue publicado originalmente en Facebook el 10/11/2021. Hoy, 28/06/2023, lo comparto nuevamente desde mi sitio web. Hice algunas actualizaciones para mejorar la legibilidad, agregué más fotos, y una versión en inglés para llegar a un público más amplio. Con este texto, celebré 8 años viviendo en Europa. “La fórmula para vivir eternamente” es el primer capítulo aniversario que transcribo a mi sitio web, aunque tengo una serie de textos similares de aniversarios anteriores que me gustaría traer aquí también. Espero continuar esta serie en los próximos años, juntarlos con los anteriores y ponerlos todos juntos en la misma página. Espero que leerlo sea tanto de vuestro agrado como fue para mi escribirlo. Lufo La fórmula para vivir eternamente Hace exactamente 8 años un avión de Alitalia aterrizaba en Roma. Había despegado el día 9/11/2013 desde Ezeiza, y en alguno de los tantos asientos estaba yo, con muchos sueños y poco equipaje. Traía mis acuarelas y mi pincel con agua, regalo de amigos y amigas italianos. Tenía todas las intenciones de usarlas… y vaya si lo hice (y lo sigo haciendo). Lo que también hice fue el control de migraciones en Fiumicino. Acto seguido me compré un café que degusté como si jamás en mi vida hubiera tomado café antes. Luego me tomé un vuelo de cabotaje hacia Nápoles, y en Capodichino me esperaban Salvatore y Simona. Estos dos adorables seres se habían hecho un momento para ir a buscarme a pesar de ser domingo. Antes de encarar hacia Fisciano (donde habría de quedarme para estudiar), hicimos una parada técnica en el Decathlon. Allí, me compré las mismas zapatillas que se compró Salvatore. Compré confiando en su criterio, como tantas otras veces hice y sin dudas seguiré haciendo. Pagué 7 € por ellas, y probablemente hoy sigan saliendo lo mismo… Probablemente, todavía se encuentre el mismísimo modelo y color en la misma estantería. Eso sí que no cambió, pero en mi vida… ¿Qué no cambió en mi vida desde entonces? Conociendo a la muerte Cada año que pasó ha sido más y más intenso. La carga emocional de estos años me enseñó a valorar cada instante de VIDA. Algo doloroso y muy intenso de estos últimos años fue tener que sentarme tan seguido a tomar café con la muerte. Había saludado por última vez al nono Héctor allá por el 2002. Aún recuerdo que su quietud y mi mente no se ponían de acuerdo: yo lo veía respirar, pero no, no respiraba. En 2008, una pequeña en la familia se nos iba con apenas unos meses, dejándonos una cantidad inmensa de cosas para repensar y resignificar. En 2010 con la nona Ilda fue un poco diferente… Quizás… Quizás porque ella nos había hablado tanto y con tanta tranquilidad de la muerte que lo tomé más natural. No fue una herida, fue una suerte de cambio de estado previamente pactado. En 2012 le toco a Nancy, y todavía la escucho y la veo viajando y divirtiéndose. Desde entonces, y a pesar de que “ella viene siempre detrás”, la huesuda no me anduvo cerca. Sin embargo, esta señorita se desquitó con una serie más bien intensa: Vito Cardone En el 2019 vino a buscar a una persona que fue clave en mi vida, Vito Cardone. Se lo cargó sin recelo, sin prisas ni pausas, sólo después de que Vito se cansara de dar cátedra de dibujo, de política, de literatura… Por suerte Vito no vivió la pandemia, no le tocó aprender a usar Zoom, Teams y todas esas cosas… Vito no dio conferencias con máscaras quirúrgicas, ni se tuvo que poner en el patético dilema (in)Shakespeariano del siglo XXI del “vax o no vax”… Vito… Ese Vito me dio la oportunidad de contar mis historias por primera vez en una conferencia en 2012. Además, me pidió dos dibujos apenas llegué a Italia en 2013, uno de Villa Rufolo y otro del auditorio de Niemeyer y los publicó en su libro Viaggiatori d’architettura in Italia. Con ese mismo Vito compartí libros, historias, y momentos entre Nápoles, Roma y Salerno. Vito. Golpe durísimo que no hablé con nadie abiertamente. Ni que tampoco nadie me preguntó, quizás porque muy pocos tenían idea de lo que Vito representó en mi vida. La única persona que lo sabe en profundidad tuvo tu propia cuota de dolor también. Quizás fue una suerte de “entendimiento mutuo”. A Vito no lo vi. No lo quise ver. Me lo quise llevar vivo en la memoria. Y efectivamente allí está todavía, escribiendo mails hasta las 21 en el campus de Fisciano… O comiendo en alguna taberna de Nápoles… Allí está todavía, compartiendo congresos en España y en Italia, dando conferencias magistrales sobre la vida y obra de Gaspard Monge y el Grand Tour. Allí está, vivo. Damaris Balland Para inaugurar el 2021, la parca me mostró su lado más imprevisible con el episodio más intenso que viví hasta ahora. Espero que se haya degustado lo suficiente. Esta señora de huesos y tela me hizo una jugarreta especial. Me agarró desprevenido, con la guardia bajísima, o con la atención muy hacia otro lado. Dante lo explica perfectamente: es en los jardines es donde somos más vulnerables porque es donde más nos relajamos y bajamos la guardia. El 01/01/2021, a la parca se le dio por fumarse un pucho nada más y nada menos que con Damaris. Damaris. Esa flaca suiza que amé intensamente y que me dio todo y más… Damaris, esa persona que aprendió a liberar los demonios de los otros como una hechicera. Ella que tanto ayudó a liberar a otros intentó hasta el último momento liberarse de sus propios traumas… pero no pudo. Damaris. Murió Damaris. … O de alguna manera, terminó de morir, porque cuando la conocí era ya un rejunte de cristales rotos, acaso imposibles de reunir. Y no digo esto para liberarme de la culpa en este número donde cada uno carga su fardo. No, lo digo porque a veces…
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Author: lufoart

Lufo Art