Fragments

when the physical turns digital, where do the fragments of intimacy go?


Process

Fragments is part of an ongoing practice that explores the aesthetics created by hacking systems of new media in design and artistic processes, to create new groundbreaking systems and new boundaries to break.

How is a post-media world modifying the digital aspects of time, space, movement and interaction - and therefore affecting the discourse on new aesthetics of technology?

The research covers the emerging technique of volumetric capture of bodies and the digital means of their streaming. By investigating the concepts of hologram and teleportation I encountered visual systems of point clouds and wireframes - which are the fragmented textures of digital bodies, the way computers perceive us.

3D Scan of De Electriciteitsfabriek (The Hague) by researcher Codrin Talaba

3D Scan of De Electriciteitsfabriek (The Hague).
I exctracted mesh data from Google Maps 3D database using RenderDoc and WebGL.


Displacement of the 3D scan based on a sound effector.
The architecture reached by digital means is repurposed to new medium


Displacement of the Colosseum.


Displacement of the European Central Bank.
The sound is taken from the RAW data of a 3D scanned Euro banknote.

3D Scan of my garden and my brother in Italy, which I carried to Netherlands under the form of RAW data and opened in the form of point cloud

body

becomes

virtual

container

of self

References on volumetric filmmaking start no earlier than 2008, when Radiohead hacked a Lidar scanner to film a music video.

Since then, this new discipline has been reforming the idea of the hologram, and became a domestic technology with the implementation of Kinect in the creative coding community.

Soon, new textures and shapes, but also new tools of interaction and archival, have been achieved by artists, designers and developers.

Radiohead "House of Cards" from James Frost

ARIADNE'S THREAD from Marta Di Francesco.

DUST VR Art Project from Carmen Salas.
This is one of the first attempts to stream a volumetric recording in VR and on the browser


Chat with Andrej Boleslavský, one of the creators behind VR Dust

Heterotopia - Miroirs et Perspectives from MINUIT.
This work from 2020 has achieved the most in terms of aesthetics of interactivity.
The viewers are livestreamed in the VR game as systems of particles

The process of making Fragments involves a conversation between dance and new technologies as two collaborative media.

On one side, dance as the knowledge of body and movement brings in a performative element to express intimacy from a physical input.

On the other side, digital technology opens up the endless possibilities of streaming the physical input to a digital viewer, who perceives a new unique experience in-between real and virtual.

The body explored by a digital controller

Fragments left of a digital body

The body becomes the digital controller

A performance happens in the here and now, making it hard to experience in the same dimension when digitized. That is when the viewer loses the intimate feeling of physical presence.

I am interested in those fragments of data and feelings that are lost in the inter-communication between physical and digital world

How does the digitization of an audiovisual performance affect the viewer’s perception of time, space, movement, and interaction?

a mirror

an interaction with the past


The uncertainty in the promise of a physical contact within the context of social distancing has distorted our perception of tangibility, by limiting us to means of digital communication.

Fragments explores a corporeal intimacy that is stuck in between two worlds, one of sensorial reality and 1.5 meters of distance, and one of data streaming and close interconnection.

A cyber dance.

A virtual kiss.

A digital touch.


Experiments

IST: FLUX

The curation of a program for the EYE Film Museum based on the FLUX movement and the philosophy of nomadism made me reflect on the concept of innovation by hacking.

The innovator repurposes the obsolete to create new tools, in a cycle of reprocess alternative to brand-new production.

We have enough technology to achieve all our dreamt paradoxes such as time travel, teleportation, holograms, in a virtual world

Following this reflection I worked on editing a stereoscopic video containing volumetric captures recorded with obsolete tools hacked to be repurposed as 3D scanners

Last Lab: The Grey Space in The Middle

In occasion of the OpenLab, a collective Open Studio organized from the 4th year of KABK I/M/D at the Grey Space in The Middle, I had a volumetric streaming in VR.

I used my hand as a performer, dancing to a musical piece made for the exposition, and explorable in an immersive environment with digitized hands.

Everything is coded through Unity with the use of Alpha and Beta plugins, or Open Source code implementations.