Photograph captures panel session held in conference environment with five speakers seated in front of projection screen. Session is part of MAPP PRO program dated 28 September, scheduled from 10:30 to 12:00 at Mila (Quebec Artificial Intelligence Institute).

Projection screen behind panel displays event details. Title indicates focus on augmented creation, examining how artificial intelligence transforms artistic practices and reshapes perception of digital culture: “Création augmentée: comment l’IA transforme l’expression artistique et la perception culturelle numérique.” Speaker images and names are arranged on right side of slide, while event branding and partner logos are visible at edges.

Panel composition includes five individuals seated in single row with handheld microphones. Participants wear casual to semi-formal attire. Rightmost speaker, dressed in dark jacket and glasses, is actively speaking while holding microphone. Central figures are seated with neutral postures, one clasping notes or device. Leftmost participant wears patterned shirt, contrasting with darker clothing of others.

Foreground includes Mila logo in large semi-transparent purple lettering projected digitally onto photograph’s corner, linking event to host institution. Surrounding environment includes exposed ceiling infrastructure, suspended lighting fixtures, and minimalist industrial-style interior common to academic or research venues.

Overall, the photograph documents public discourse on intersection of artificial intelligence and artistic expression within institutional framework, highlighting collaborative exploration of cultural and technological integration.

This image depicts a portrait manipulated through digital face-altering software, creating a surrealist rendering in which the eyes are replaced by horizontally aligned forks functioning as prosthetic eyewear. The processed facial features carry the soft tonal gradient of algorithmic skin smoothing, signaling the intervention of automated beautification filters while simultaneously highlighting the disruption caused by the inserted cutlery object. The smile, exaggerated by the app’s generative correction system, contrasts with the absurd, posthuman vision-blocking apparatus, producing a hybrid identity between polished consumer aesthetics and avant-garde experimentation. The watermark in the lower corner situates the work within the lineage of mobile image-processing culture, where accessibility collides with artistic subversion. This portrait extends the Fork Glasses motif into the sphere of digital augmentation, suggesting that prosthetic symbolism can be further reframed within systems of algorithmic portraiture. By embedding mundane utensils within frameworks of face recognition and beautification, the work critiques surveillance economies, self-representation, and mediated identity. The resulting figure is both humorous and uncanny, straddling the tension between meme circulation and conceptual performance, positioning everyday tools as vectors of visual disruption inside a culture saturated with image correction and normative enhancement technologies.

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.

This digital artwork presents a hybrid portrait where a human face has been seamlessly merged with the front view of a turbine engine. The upper half of the head retains realistic hair and ears, while the entire facial area is replaced by the metallic fan blades of an aircraft jet engine, radiating outwards in perfect symmetry. The polished copper and steel tones contrast sharply with the natural textures of human skin and hair, creating a surrealist fusion of biology and mechanical engineering. The image reflects themes of industrial identity, mechanization of the body, and the intersection of human and machine consciousness. The precision of the rendering emphasizes both photorealism and digital illustration techniques, situating the piece at the crossroads of concept art, speculative design, and symbolic portraiture.

Indoor group photograph taken within a convention hall environment featuring participants dressed in themed costumes. The hall background shows overhead structural beams, suspended lighting, and partition curtains typical of large exhibition spaces. Central to the composition are individuals incorporating bread motifs into their attire. One person wears a rectangular slice-of-bread headpiece with a printed bottle-like motif, while another is partially visible in an oversized toast-shaped mask.

At the left, an individual dons a pug dog mask and holds a multicolored prop shaped like a bone. Another person positioned in front of the group wears casual clothing and smiles toward the camera while making a peace sign gesture. Beside them, another participant in plaid shirt leans forward, displaying an exaggerated facial expression.

Foreground includes digital overlay graphics not physically present in the scene: a glossy, rendered bread roll cluster has been superimposed at the lower left corner of the frame. This digitally inserted element features rounded rolls with reflective highlights, contrasting in texture and resolution with the photographed costumes. The overlay establishes an additional bread reference beyond the physical costumes.

Costumes consist of sculpted foam or papier-mâché headpieces painted to mimic toasted crust coloration, while other participants wear casual garments such as jackets, shirts, and scarves. The integration of costumed figures, props, and digital augmentation produces a hybrid composition blending live convention performance with graphic post-processing.