3D

The process also allowed the idealization of Oneirographia, which is a 3D interactive online environment that is under construction and will be finished by the end of February of 2021. In this work, the interactor can build or simulate his digital dreams with data input that´ll randomly create a sensory ambiance. First, the user fills a form and, then it will be possible to choose between a dream or a nightmare to define the atmosphere of the digital experience. After that, the user will navigate between images, words, and sounds, and, at any moment, he can choose to capture photographs of the digital dream to download or share them on the social media networks. Dreams hold relevant messages and memories that we cannot access otherwise. However, its encrypted language makes it difficult to understand, and usually, during the wake, we quickly forget what we have dreamed of. Oneirographia aims to facilitate the remembering, reimagining, and sharing of our dreams. The work will be available in three different languages: Portuguese, English and Spanish.

Oneirographia is a project that started in March 2020, when the quarantine due to the Coronavirus pandemic began in the city of São Paulo, Brazil. The conceptual project started from a dream and proceeded, at first, with the help of Internet search engines and it was an encouragement at the critical moment of confinement and pessimism. Somehow that fact so unique and different from other experienced dream phenomena aroused a series of sensations and reflections on the possibility of incorporating the unforeseen and irrational element as a means of promoting academic inquiry and artistic research. The dream experience allowed a deviation in the search algorithms using private intuition. This methodology contradicts the rational tendency behind the “improvement” of the artificial intelligence of these mechanisms. This effort included bibliographic research and the creation of a web page called “Prague Dremiary” that contains more information about the work.

Source: exhibition documentation

Confinement Spaces is an existential visual narrative of living in the United Arab Emirates under lockdown from March-August 2020. The initial days of the lockdown, when work turned to Zoom-time and simple actions like grocery shopping became an exercise in epidemiology, created a mix of anxiety and ennui that led to scanning the environment with an iPhone and 3D scanning software, creating beautiful, glitched dreamlike landscapes. As time passed and restrictions eased, other spaces, like the Cultural Foundation and Louvre Abu Dhabi opened again, and the artist went out to progressively scan the pandemic landscape. Eventually restrictions eased to allow travel to the other Emirates, and sites in Dubai, Sharjah, and the legendary airplane from the movie Lord of War (in Umm al Quwain) were captured as an allegory for the universality of the isolation being experienced in the UAE and around the globe.

The result is a visual narrative of the glitched landscape of the pandemic UAE, six months collapsed into a single experience (following the author's work in Spatial Form), as a series of twelve interactive spaces rendered as pastiches of the 82 scanned spaces made during this time. The project proposed is an initial version created for The Foundry in Dubai, and the ELO version will incproporate deeper narratological structures in text, spoken word and video.

Source: exhibition documentation

+ What is a V[R]erse?

A V[R]erse is a microstory. Each story consists of a storybox that can be experienced in 3D via a WebXR enabled mobile device, desktop PC and in Virtual Reality.

+ Who’s Behind the V[R]erse Curtain?

Each V[R]erse is created by different digital literature authors [text] and Mez Breeze [development + design, model + concept creation, audio].

+ Halp! I Need V[R]erse Navigation Tips:

Press the white arrow in the middle of each storybox below to begin. After clicking on the white arrow, you can then click on the “Select an annotation” bar at the bottom of each storybox screen, or on either of the smaller arrows on each side of the storybox if viewing vertically on a mobile [and also make sure to click the “+ more info” option for a full readthrough too], or navigate through the annotations manually. If you need help with the controls, please click the “?” located in the bottom righthand side – you’ll find other controls here like too “View in VR”, “Theatre Mode”, “FullScreen”, “Volume” etc.

If interactivity isn’t your thing, you also have the option of a static playthrough of each V[R]erse by clicking on the annotation bar and selecting “Start Autopilot”, or if you’d prefer just to experience the work without the text, “Hide Annotations”.

+ How Many V[R]erses Are There?

How long is a piece of digital string? [In other words, we don’t know just yet, so stay tuned.]

+ Feedback About the Project:

“This work represents a novel association between the text and the image, as the three-dimensional space gives a new perception of the text and its possible sequences. Breeze assembles then a new type of digital literature reading environment, with an intriguing composition of form and texts.” – From this review at Neutral Magazine: Critical Digital Culture and Media Arts.

“V[R]erses, as a broader work, is an XR (extended reality) story series…a V[R]erse is a microstory. What is intriguing in this case is that text in electronic literature is not necessarily central or authoritative. In fact, in this work…the text is supplementary to either code or other media.” – From “Collaboration and Authority in Electronic Literature” by David Thomas Henry Wright, TEXT Special Issue 59: Creating Communities: Collaboration in Creative Writing and Research.

Explained very simply, this piece is a story about a man being presented with a mysterious object that is either 1) directions upon which he must act or 2) documentation of his own origins. If they are the former, then the events that proceed in the story are the events that proceed. If they are the latter, the events that proceed are his re-encounter with how he came into being not as an organism (what is that even?), necessarily, but as a someone who believes in space, physicality, reason, etc.The piece alternates between two locations: "in here," which is where the narrator builds a space in order to orient himself in relation to the question the mysterious object presents, and "that sort of place," which is where the narrator is presented with new information that both helps and antagonizes him. The juxtaposition of the closed, structured space of "that sort of place" with the open sprawl of "in here" invokes the question that the narrator circles around - whether he can recreate or reconstruct his own beginnings or origins to the point of creating the closed, structured space in which he exists now.

Source: https://wiki.brown.edu/confluence/display/wdm/Cave+Writing+Presentation…

After fifteen years (2003-2016) of documentary field research in the Middle-East as a visual and radio producer and in the continuum of these projects, I propose here a new conceptual crossdisciplinary intuitional analysis tool. Eldorado, Iraq 2017 (Iraqi designed soundscape 2012-2013) is a practice-based, experiential and anthropological cognition system based on three-dimensional virtual reality that proposes cultural immersive sound experience through 3D environment across a country: Iraq.

Super Mario 64 is a 1996 platform video game for the Nintendo 64 and the first in the Super Mario series to feature three-dimensional (3D) gameplay. As Mario, the player explores Princess Peach's castle and must rescue her from Bowser. Super Mario 64 features open-world playability, degrees of freedom through all three axes in space, and relatively large areas which are composed primarily of true 3D polygons as opposed to only two-dimensional (2D) sprites. It emphasizes exploration within vast worlds, which require the player to complete various missions in addition to the occasional linear obstacle courses (as in traditional platform games). It preserves many gameplay elements and characters of earlier Mario games as well as the visual style.

(Source: Wikipedia)

The Thing Tableau is a 3D/VR work conceived and designed in Virtual Reality. Its story unfolds through a digital narrative that can only be viewed online. The story references insomnia and the thoughts and language that can creep and reoccur when in this twilightish state.

The project is designed for audience interaction through click-based annotations, and can be viewed in multiple ways: as a text-based narrative that unpacks when an audience member interacts with it, or as an automated playthrough (though it’s preferred that audience members get to interact with the model in a 3D or even VR space).

The Thing Tableau is one of the works from the V[R]ignettes Microstory Series.

Covering 600 years of history, from pre-Colombian America to a present in 2121,TimeTraveller™ follows the journey of Hunter, a Montreal Mohawk who wishes tolearn about his ancestors and to seek an alternative to his consumerist world. Inthis science-fiction narrative, combining factual history and hypothetical futures,the main protagonist travels through time by logging on his edutainment system,his TimeTraveller™. His multiple immersions in indigenous history, from theMinnesota Massacre in 1875 to the Oka Crisis in 1990, leads him to meetKarahkwenhawi at the occupation of Alcatraz Island in 1969 with whom he falls inlove. The work comprises a website and nine machinima episodes created inSecond Life.

The Dispersed Digital Poetry Project is a year-long endeavour to create a series of short one poem/screen/page interactive digital poems, with each of those digital poems hosted on a different website or portal. And then the entire series of interactive works inter-linked together, forming a larger collection, existing across the net. 

For example: I will create a mouse-follower digital poem to be hosted by gallery’s website in Vancouver. And that work will link to 3D textual work hosted by a literary journal in Singapore. Add 24 others! In essence, the works will have dozens of different entry points and doorways, with the whole of the work forming a grid across the websites of places, institutions, people, publications and organizations around the world. 

What is the overarching theme of this collection of works from the Dispersed Digital Poetry Project? 

The goal is for each of the works to use a different type/method of interface and/or interactivity. And as such each work will be an invention, a small machine for reading/writing. Reflecting the technical aspects of these work’s literary inventions will be a poetic thematic exploring the notion of failed creations, experiments and inventions that reach for wondrous heights and yet fail under the weight of their own divergence from the world. 

Inside my gorge combines the real-time erection and arrangement of augmented reality-based textual architectures with immersive, 3d virtual environments to construct, deconstruct, and reconstruct a poetics of queer embodiment in mixed reality. Drawing upon the word gorge to suggest a valley, an act of overindulgence, and a throat, the work explores gaps and excesses in language and the conflation of text, body and landscape.In the 1970’s, American self-taught artist Loy Bowlin designated himself "the original rhinestone cowboy." Adopting the persona from Glen Campbell’s hit song Rhinestone Cowboy, he intricately bedazzled his house, car, clothing, and dentures, creating a ubiquitous excess to compensate for a profound loneliness. Using Bowlin’s original unoriginality as a starting point, the performance appropriates sites of vernacular language and architecture in which all gaps are gorged. Bowlin's rhinestone habitat - rendered as a luminous environment derived from 3d scans  - is placed in relation to auction chanting where the cumulative repetition of numbers and "filler words" becomes a fluidly stuttering drone. Other sources at play include Arthur Rimbaud and Paul Verlaine’s collaborative The Sonnet of the Hole in the Ass and Pierre Guyotat’s 1975 novel, Prostitution. Composed in an invented mixed language dialect, Guyotat's summoning of sex acts in a gay male brothel is less narrative than linguistic secretion, a distinctive outpouring of self-same written material and displaced punctuation comprising an extravagant verbivisivoco ambience. Using solicitous flows of embodied language to create dazzling environments, Inside my gorge enacts cuts and disappearing acts between the body, language and space.

(source: ELO 2018 website)