Digital screenshot of website interface structured into three-column format with dark vertical sidebar at left, central main content area, and slim navigation column at right. Site header identifies subject as “Alex Boya” with profile page dedicated to projects and activities. Top of main content column displays horizontal banner illustration in monochrome ink depicting humanoid bust with turbine-like engine head, seated behind bar counter with bottles and shelves, composition framed within architectural interior. Beneath banner, page organizes content into three stacked article previews.

First article titled “Dernier verre avec Justine” features illustration identical to header, paired with text excerpt beneath. Second article presents photographic scene from Festival 2019, crowd of people gathered at Café Court event with Espresso signage visible in background; article caption emphasizes return of Espresso program and festival continuation. Third article highlights portrait of individual in front of abstract colorful backdrop with arms crossed, title reading “Café court – Alex Boya.” Each article preview block includes thumbnail image, bold red title text, excerpt paragraph, and red link button labeled “Lire la suite.”

Right-hand column lists related navigational links and tags, including author name, article references, and thematic categories. Sidebar on left displays structured menu hierarchy: homepage link, thematic categories such as “Actualités,” “Articles,” and “Entretiens,” as well as search bar and social media icons. Footer region of page displays multiple logos of partner organizations, including Telefilm Canada, SODEC, ONF/NFB, Conseil des arts du Canada, and media partners, arranged in horizontal row against dark background.

Visual layout emphasizes clear separation of functional zones through background contrast: dark grey sidebars flanking white central content, red highlights marking interactive buttons and category labels. Typography employs sans-serif fonts for body text and headers, consistent with contemporary web design standards. Images alternate between illustrative artwork and documentary photography, creating balance between artistic representation and event documentation. Overall webpage structure functions as professional portfolio and news archive presenting Alex Boya’s artistic contributions, public events, and institutional associations within structured digital interface.

Mobile device screenshot displays professional profile webpage hosted on vp.eventival.com. Upper segment contains circular portrait photograph depicting individual with neutral facial expression, bald head, and digitally altered overlay across eyes resembling horizontal metallic slats or mechanical fins. Portrait background is uniform light grey, isolating subject without contextual environment.

Beneath image, bold typographic heading identifies name “Alex Boya.” Paragraph text below outlines career trajectory and philosophical framework. Content describes decade-long experience as creator affiliated with National Film Board, emphasizing engagement with cultural institutions as mechanisms to foster environments supporting human-computer co-development, artificial intelligence exploration, and human-computer interaction. Additional statements highlight Boya’s films as platforms for incubating experimental interactions, establishing innovative spaces where artistic media intersect with computational processes. Philosophical core articulated within text asserts that humanity remains central guiding force in technological progress, ensuring future development aligns with collective wisdom and ethical values.

Webpage design employs minimal layout, utilizing centered alignment, sans-serif typography, and monochromatic scheme. Text is arranged in justified blocks, ensuring clean margins and legibility on mobile interface. Bottom section contains interactive buttons rendered as outlined icons with corresponding functions: “More about,” envelope symbol for email contact, and circular icon for sharing or secondary action. Background remains plain white, reinforcing emphasis on textual and photographic content.

Visible browser interface elements include secure site lock icon, URL bar displaying vp.eventival.com, system status indicators for mobile signal and battery, and navigation icons for back, forward, share, and tab overview. Time reading “13:01” appears within top status bar. Scroll bar visible along right margin suggests additional content beyond current frame.

Overall presentation combines portraiture, biography, and digital interface components, functioning as institutional professional introduction situating individual’s creative practice within context of cultural, technological, and ethical discourse.

The image combines a written storyboard script with a sequence of isometric illustrations depicting urban and rural environments.

The left side of the composition contains a block of typed text structured as scene directions. It outlines narrative cues including home interiors, apartment environments, city exteriors, countryside landscapes, and transitional shots such as bridges and roads. The script references characters, vehicles, and visual actions, such as a bread-headed policeman, houses, and shifting perspectives across multiple environments.

On the right side, a vertical column of isometric illustrations shows stylized environments:

At the top, small blocky houses and apartment clusters with streets and vehicles.

Mid-level, taller apartment towers and classical institutional buildings surrounded by green space.

At the bottom, agricultural landscapes with rows of windmills, farm plots, and a stylized wooden windmill adjacent to golden terrain.

A red tractor appears on a road segment with surrounding fields, reinforcing the rural shift. The illustrations are executed in simplified geometric style, with clean lines, flat colors, and perspective consistent with isometric projection.

The integration of text and images suggests this document functions as a visual script or planning storyboard for animation, film, or interactive media, combining narrative instruction with modular spatial design references.

This image captures a laptop screen showing an experimental VR environment prototype under development, combining 3D spatial mapping with a live webcam feed. The virtual space displayed features a mesh-like structure defined by bold blue polygonal lines forming an interconnected grid. These lines outline the contours of an enclosed environment, suggesting the simulation of an architectural dome or organic cavity. The textures filling the mesh areas are muted green and beige, resembling terrain or layered topography.

At the center of the composition, a live webcam feed window shows a participant (sitting in front of a workstation) testing the interface. The participant is actively engaged with the software, visible through the live insert as if embedded within the digital environment itself, symbolically merging physical and virtual presence.

The software interface includes navigation and control buttons along the bottom of the screen, typical of immersive or 3D collaboration platforms. The Wacom branding on the laptop indicates the use of specialized creative hardware, reinforcing that this setup is tailored for digital art, animation, and prototyping rather than general VR gaming.

This prototype exemplifies hybrid workflows where live human interaction intersects with simulated environments. Such experiments are foundational to immersive storytelling, interactive animation pipelines, and virtual production methodologies. They also highlight how creators can directly inhabit and manipulate digital architectures in real time, creating a feedback loop between physical gestures and computational rendering.

From the perspective of the Walking Bread and broader Genomic Animation research context, this setup demonstrates how immersive frameworks can be used to spatialize concepts, test audience perspectives, and prototype narrative spaces that blend hand-drawn or sculpted assets with real-world interactivity. It serves both as a technical exercise and as an aesthetic exploration of how digital and analog creative practices converge.

Screen capture photograph of a digital interface showing a media player or sharing platform. On the right side of the screen, two interactive options are listed vertically with icons: “Download” and “Add to Collection.” Beneath these options is a section of the post interface containing a visible numerical engagement metric. An eye-shaped icon precedes the number 1,130,616 Views, indicating the total view count for the media item displayed.

Text overlays at the top left corner consist of tagged organization handles: @unesco, @meta, @gipharts. These appear in bold white boxes with black text, suggesting a social media story or repost overlay format.

At the bottom of the screen are interactive hashtags enclosed in pill-shaped icons, including #on and #global, indicating topical indexing for broader discoverability. Additional partially visible text such as “transformation” appears in the lower-left portion of the image, suggesting thematic categorization of the media content.

The blurred background image on the left appears to show an exterior stone-paved surface with walls, though it is only partially visible. The focus of the screenshot emphasizes interface elements, tagging, and numerical engagement rather than the content itself.

This capture reflects social media dissemination of creative media connected with international cultural and digital platforms, situating the content within a context of large-scale online visibility and institutional association.

Composite image demonstrates a workflow that merges analog architectural sketching with digital three-dimensional modeling. The upper half shows highly detailed line drawings depicting an industrial cityscape with densely layered structures. The hand-rendered illustration includes multi-level buildings, cylindrical tanks, exposed piping, scaffolding, and water towers. Shading is achieved through dense cross-hatching, imparting depth and texture across the clustered architectural forms.

The lower portion of the composition integrates digital modeling. At left, a 3D software interface displays a simplified volumetric block model in bright red, representing early-stage geometry of the industrial structures. The model consists of rectangular forms, cylindrical extensions, and pipes, establishing spatial arrangement and proportion without surface detailing. At right, the red model is overlaid against a portion of the original drawing, demonstrating direct correlation between hand-drawn concept art and digital reconstruction.

The juxtaposition highlights iterative design progression: initial sketching for aesthetic exploration, followed by digital modeling for structural precision and visualization. The industrial architecture depicted emphasizes modular construction, exposed mechanical systems, and layered utilities typical of high-density machine-age environments.

This workflow illustrates hybrid creative methodology, where analog drawing techniques provide expressive and detailed conceptual frameworks later translated into digital 3D geometry for refinement, rendering, or eventual use in animation or interactive media.

Photograph captures a large sculptural head mounted outdoors in a public urban environment. The sculpture is yellow-golden in tone, with a surface texture resembling baked bread. Facial features are abstracted: rounded ears extend from the sides, while indentations form simplified nose, eye, and mouth areas. The irregular, crust-like texture enhances the resemblance to bread while maintaining anthropomorphic qualities.

Above the sculpture, a rectangular sign is mounted on a pole, bearing the bilingual text “Hugs / Câlins.” The sign is white with black lettering, presented in simple sans-serif typography, indicating its accessibility to both English and French audiences.

The background shows an outdoor plaza with multi-story buildings, a ferris wheel structure, and temporary installations, suggesting a festival or cultural event setting. Trees without leaves and winter attire in the environment imply a colder season.

The composition situates the bread head as a public art installation, blending surreal, food-inspired symbolism with social messaging centered on physical affection. The juxtaposition of whimsical sculptural form and bilingual signage underlines its role as both artistic expression and interactive cultural marker.

Plan numérique interactif illustrant le mouvement d’une sphère blanche uniforme sur une surface plane composée de modules texturés. Le plan est couvert de motifs répétitifs rappelant des mailles hexagonales ou pavages en relief, accentuant la friction apparente entre surface et objet roulant. À gauche, interface de commande visible sous forme d’icône ovale contenant l’inscription « Reset », indiquant environnement expérimental de simulation logicielle. L’arrière-plan neutre, uniformément blanc, isole la dynamique visuelle et permet de concentrer l’observation sur le contact entre sphère et plan. Le mouvement se caractérise par trajectoire linéaire simple, déviée par légères irrégularités de la texture sous-jacente. Ce dispositif visuel illustre étude de mécanique appliquée au rendu graphique, reliant paramètres physiques (gravité, frottement, inertie) à visualisation procédurale.

数字化交互场景展示一颗白色球体在平面上滚动，平面由重复纹理构成，外观类似六边形网格或浮雕铺面，强调物体与表面的摩擦关系。左侧出现界面指令，椭圆形图标内写有“Reset”，表明该环境属于软件实验模拟。背景保持纯白，去除干扰，使注意力集中于球体与平面之间的接触与动力表现。运动轨迹整体呈直线，但因表面细微不平而产生轻微偏移。该场景体现了物理机制（重力、摩擦、惯性）与程序化渲染的结合，作为力学与图形生成之间的研究实例。

Digital simulation environment showing uniform white sphere rolling across flat surface covered with repetitive textured pattern. The plane resembles tessellated relief, hexagonal or grid-like, creating irregularities that influence rolling path. On left side, control interface element labeled “Reset” indicates interactive test within software. Neutral white background isolates visual motion sequence. Sphere trajectory is primarily linear with subtle deviations caused by micro-surface variation. Visual setup functions as demonstration of physical modeling, linking gravity, friction, and inertia with procedural rendering outputs.

Дигитална среда за симулация, показваща бяла сфера, търкаляща се върху плоска повърхност, покрита с повтарящ се текстуриран мотив. Повърхността наподобява мозайка или релефна решетка, което създава неравности, влияещи върху траекторията на движение. Вляво се вижда контролен интерфейсен елемент с надпис „Reset“, обозначаващ интерактивен експеримент в рамките на софтуер. Фонът е неутрално бял, изолиращ визуалната динамика. Траекторията на сферата е основно линейна, но леко отклонена от микроструктурите на повърхността. Визуализацията служи за демонстрация на физическо моделиране, свързващо гравитация, триене и инерция с процедурен рендеринг.

Entorno de simulación digital mostrando esfera blanca uniforme rodando sobre superficie plana con patrón texturizado repetitivo. El plano recuerda un relieve teselado, de tipo hexagonal o en cuadrícula, cuyas irregularidades afectan la trayectoria del movimiento. En la parte izquierda aparece elemento de interfaz con la palabra «Reset», indicando prueba interactiva en software. El fondo blanco neutro aísla la secuencia visual. La trayectoria de la esfera es principalmente lineal, con ligeras desviaciones provocadas por microvariaciones de la superficie. El montaje funciona como demostración de modelado físico, vinculando gravedad, fricción e inercia con procesos de renderizado procedimental.

Digital promotional layout consisting of a composite arrangement of text, graphics, and photographic portraits announcing an event under the title “At the service of the narrative.” The upper left quadrant contains a rectangular banner with a gradient background transitioning between pastel hues of green, purple, and light yellow, overlaid with black sans-serif typography listing the session’s name and contextual details. To the right, a vertical column of text specifies participants, event format, and institutional affiliation, presented in list form with typographic hierarchy emphasizing bolded names. Below this section are three monochrome portrait photographs aligned horizontally, each cropped at head-and-shoulder scale, showing distinct individuals in grayscale reproduction. The lower region of the composition overlays a translucent gray block containing hashtags, institutional identifiers, and participant names rendered in bold white text preceded by the hashtag or @ symbol. Identifiers reference creative institutions, specific individuals, and project titles including hubmontreal, onf, gnfb_animation_interactive, and personal accounts for Sandra Rodriguez and Sandro. The overall arrangement functions as an informational visual combining graphical gradient design, textual listing, photographic identification, and social media indexing tags for circulation within digital platforms.

Indoor portrait under diffuse natural and artificial illumination showing a figure wearing circular eyeglass frames and dark clothing while holding an official HUB Montréal badge. The badge is laminated, rectangular, vertically oriented, and divided into two sections: an upper zone in green with the printed designation “Or/Gold” and a lower white zone containing the name “ALEX” in bold uppercase, “Boya” in smaller type below, and institutional affiliation “NFB” at the bottom left. A QR code is positioned in the lower right. The badge is suspended by a black woven lanyard attached around the subject’s neck. The figure’s hand grips the lower edge of the card, positioning it prominently toward the camera. Facial features include a clean-shaven scalp, reflective circular eyeglass lenses, and an open mouth mid-expression, captured in a candid gestural state.

The background environment contains architectural and exhibition features characteristic of convention or showcase settings, including a cylindrical concrete support column, ceiling panels with lighting fixtures, and white angular frame elements intersecting diagonally. A wall panel partially covered with a dense collage of small images and textures is visible behind the subject, reinforcing the event and exhibition context. The composition documents both the individual and their institutional identification at HUB Montréal, situating the portrait within a professional cultural industry framework.