“Manteros” (blanketmen) is the term used to refer to people who sell counterfeit goods on the street, such as music CDs, DVDs, video games, clothes, watches, etc. Manteros are migrants from countries such as Senegal and Guinea-Bissau, usually forced by mafias to work. They sell their products on the street on a blanket and pick up their goods as fast as they can and flee when they notice the police presence. The project, Metamateros consists in the creation of 3D avatars, to act as digital migrants capable to travel anonymously from metaverse to metaverse, (Mozilla hub, Decentraland, Sandbox, cryptovortex or Zuckerberg’s future metaverse) trading data and digital assets.

The work is a front-end for Carnivore, the project that mimics FBI's net surveillance software. Web-usage data of a surveillance target is displayed via well-known masterpeces by works by Cezanne, Van Gogh, and others to give trained operatives clear insight into the target's web activities.

The Loop residence program consists of XR online studios with the artists David Sainté, Inbar Hagai, Match Zimmerman, Joelle McTigue, Zhou Peng, Ryan Seslow, AdrienneRose Gionta, Angie Amaro, BBraio, Ibuki Kuramochi, cha, Wenjun Chen, and Denis Rovinskiy.

Wild Era Art: Origin Story. This robot is the arena for on canvas battles between wild art and A.I & Algorithms. Algorithms have a normalizing force where data, people, ideas and systems that bend their shapes to fit into their acceptable inputs are rewarded with greater visibility. Have you heard of Instagram Face or Face Tuning? Face Tuning algorithms use AI to adjust the size, shape and smoothness of faces and bodies before posting them. When this adjustment occurs on a photograph it is seamless, often not fully visible. When this same adjustment is applied via this robot onto a wild (and still wet) portrait painting the result is mess, scars, tension, areas of noticeable conflict between the wild and the controlled. There is a tension between who you are and who society says you should be. I paint portraits that reveal that tension. Wild vs Controlled. Which are you?

Inspired by Audre Lorde’s ‘A Litany for Survival’, MY SILENCE WOULD BE AS STONE envisions the invisible hopes and fears across the colonial history and generations of the artist’s lineage, calling upon the petition-and-response structure of the litany as both a recursive process and manifold introspection within AI conversational and image synthesis models.

The series of sculpture and paintings in this show composed under the title 'Magic Lasso', use a common photo editing tool to grapple with over-curation, censorship and skewing of perspective. The separation of space within and outside of the Magic Lasso works to censor surroundings; what must be seen and what mustn’t. It serves as an exploration of the emerging need to artificially produce and be in control of one’s image, and pushes the Magic Lasso as a utilitarian object placed in our world to streamline our perception. Displaced characters and fragments found on digital vacations on Google Street View are treated as found objects, pulled into the real world where their backgrounds disappear on a blank canvas.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

“Archetypes #1” and “Archetypes #2” are generative moving image pieces that explore the realms of duration, digital artifacts, repetition, and variation. These artworks are born from the unique synergy between creative vision and the digital medium. The genesis of these works can be traced back to the computer environment, where the artist harnessed the limitless potential of technology to create a sensory experience. These pieces seek to enchant the retinal expectation, inviting viewers to explore the ever-evolving interplay between art and technology through the language of pixels and algorithms, and the profound reflection on the digital environment. Richard Garet explores the evolution and experience of art integrated into digital files through NFTs. He seeks to bridge the medium's inherent constructs with virtual experiential conditions. This condition creates an aesthetic realm that celebrates the luminous emission of the screen, the evolving technologies that shape our visual encounters, and the ethereal surface of the screen that unifies various artistic mediums.

A neurotransmitter rush fueled by digital tools... also digital fools. The gamification of technology and media has made us eager and willing participants in a technological Pavlovian experiment. Our biochemistry is now triggered by the highs and lows of symbols rendered in the flurry of emoji shorthand. All trading is now a real time game of watching flicker free screens that promise rewards, falls, and spirals.

“When are you?” will transforms a physical space into dynamic soundscapes using a reverb system that reacts to the environment and audience, combined with ambisonics audio technology — ambisonics is a method of sound recording and reproduction that aims to create a three-dimensional auditory experience for the listener. The sounds will change according to a listener position creating an immersive experience. Conceptually, the title refers to the interchange of the temporal and spatial aspects of sound. Music unravels in time, yet in “When Are You?” music will unravel depending on the listener’s location.

We Are Being Watched is a computer-generated work comprising 4 screens and a live feed projection. Each screen displays one word of the aforementioned title, moving vertically on the screen, glitching like damaged VHS tapes or old TV reception. The projection shows a glitched live feed of the audience over the glass doors of the exhibition space, enabling people outside to see what is happening inside. The work interrogates the classic surveillance slogan We Are Being Watched by reframing the YOU as WE. This semantic alteration places the awareness in the people who are being watched while diminishing the power of the invisible watcher, the Orwellian Big Brother, the all-seeing eye of a totalitarian police state. In the 'we' there is a communal experience that empowers the surveilled targets, providing a sense of inclusion rather than fear and paranoia.

Pilgram: Naked Link 3.0 is the continuous process of a conceptual work that explores the boundaries between data visualization and art made from data collection, creating a link between scientific InfoVis & data sublimation. Pilgram 1.0, the first iteration, was made in 2015 and opened a hotspot in Havana. The 2.0 iteration showed the invisible structures that tie the U.S. (Miami) and Cuba, monitoring and analyzing the packet data traffic. The 3.0 naked links iteration will be a search for the possible changes (or not) of communication infrastructure since the 2.0 research. For the 3.0 iteration, we will display (in real-time) how the flow of communication between the two cities and the two countries is taking place nowadays. Pilgram: Naked Link 3.0 will visualize on real-time XR interfaces (extended realities) the links and infrastructure between the two countries that, in other cases, wouldn't be visible to the naked eye.

A music composition takes place in a virtual reality space, where the spectator - user - will be able to move around it, altering the music depending on where they are within the space. The work features video as well, this being part of the musical 'narrative'.

In this artwork, the intersection of digital and cultural histories is explored through the research and reimagining of “card stunts” used in various historical contexts where individuals become only a pixel and are surrogates to the collective inertia.

In a virtual environment, a set of drone-like beings analyze and manipulate an organic mass-like entity. Testing modes of interaction through varying intensities of light and touch, the drones train to interact with a section of a sentient world whose material properties are uncertain, shifting between liquid, solid, and gas states. Drawings relating to the process and environment accompany a wallpaper that serves as a simulated U.I. for future or alternate world technology where landscapes, living beings and machines are interchangeable and interconnected. Images of perhaps an inventory or interface around or inside the entities. A micro-scene from the expanded video-game experience Levels & Bosses.

Interfacing Actuality has taken the notion of interfaces as a point of entry for enacting a shift currently taking place in our reality, which is demonstrated by the phenomenon of the metaverse. This shift I have termed the prototyping of actuality. Interfacing actuality refers to the metaverse as the technical system by which the actual becomes an interface.

New Extractivism explores the concept of a new form of extractivism in the stack behind contemporary technological systems creating a blueprint of a machine-like superstructure: a super allegory.

A virtual twin of XRhub, the MUD Foundation XR Lab, and gallery space based in Little Haiti, Miami, Florida, US.

By utilizing religious iconography from the artist’s upbringing and fusing it with contemporary queer imagery, viewers will witness an apparition that will protect and unite all who experience it.

The new edition of Media Under Dystopia 3.0: WASD displays artworks created by visual artists using the internet as a creative medium. Presenting tech-centered pieces that deconstruct our digital environment and culture and at the same time exploring the open metaverse as a place for creation within artistic practices.

Lans King has an NFC microchip implanted in his left hand. His "artist-self" is registered on the blockchain, and it is linked to all of his artworks. Using a variety of wearable devices, Lans collects physical, emotional, and cerebral biodata. His digital artworks are often derived or generated from that data. This virtual sculpture was generated by the artist using a brain-computer interface device that captures brain activity data. The data is fed into a generative algorithm and parametric software; each channel is mapped to a specific parameter. The software transforms an initial geometry (such as a sphere) into a variety of new forms that are unique and rare. Through this process, thoughts become forms. This specific work was generated by Lans's brainwave data as he focused his thoughts on the word "tomorrow." This work is a prototype for a performance/generative artworks called The Cyborg Manifesto. In 2024, Lans King will tour this series of performances during which he will generate virtual sculptures in real-time while wearing his brain-computer interface device. For this performance, he will spend 24 hours in a glass pod, connected to a computer running a generative algorithm. These digital sculptures will then be output as physical forms.

A garden of sculptural machines and furniture for viewing a video game inspired by fusions of futuristic industrial design, pre-Columbian sculpture, architectural renderings and video game conference aesthetics. Game Viewing Gardens brings viewers into a space partially furniture showroom and partially mythological location where beings, technology and spaces are interrelated from the neo-primordial gaming universe of Castañeda’s “Levels & Bosses: Part One”. Sculpturally reinterpreting “Let’s play” scenarios where a person showcases a walk-through of a game either online or in a stage, this work imagines the scenarios as virtual performance. Game Viewing Gardens is available on the MUD verse.

Microverse delves into the vibrational essence of the natural world. The instrument sounds without being touched, and the waves it emits are seen in space. Visitors can navigate this otherwise imperceptible reality thanks to a virtual reality experience.

As our interactions with machines evolve, exploring and creating new boundaries around immersive interfaces becomes critical. The Media Under Dystopia WISPer edition is a lab hands-on exhibition exploring how the internet and XR can become tools to democratize art creation, access, co-creation, and critical media expansion. With the MUD Foundation exhibition Media Under Dystopia Wisper edition, we are prototyping the future of our current program iterations with local, national, and international communities. "WISPer" is the acronym of "WISP," Wireless Internet Service Provider, and the word ‘whisper’. This exhibition is launching our WISPer program, creating a WISP network around the MUD Foundation venue (and beyond), where the local, national, and international communities can access the MUD Foundation exhibition program and community partners initiatives. At the same time, the audiences have art access and art creation tools through our metaverse XR platform: the MUD Verse.

Each time the front door of the venue is opened, this installation comes alive. One of 45 unique sounds is randomly triggered, creating an ever-changing auditory experience that marks the act of entry. By transforming a simple, habitual gesture into an unpredictable soundscape, this piece invites us to reflect on thresholds, presence, and the unexpected.

Impulse Impromptu I is part of a 3-piece series. This track focuses on the Turkish Instrument "Kanun". This piece grew out of extensive recordings and improvisations on the Kanun, allowing its sounds to lead to free associations and a broader sonic world than the other pieces in the repertoire. The Kanun’s resonant strings and unique timbres create a rich tapestry of sound, where some associations are clearly audible and recognizable, while others remain subtle and hidden.

You are invited to participate with your senses, entering a state of active listening—a mindset that fluctuates between fleeting moments of everyday life and an eternal, spaceless existence within the cosmos.

​​In archival research, generation loss refers to the gradual degradation of quality that happens in the physical reproduction of analog media, leaving out digital reproduction, where quality stays consistent.

“Manteros” (blanketmen) is the term used to refer to people who sell counterfeit goods on the street, such as music CDs, DVDs, video games, clothes, watches, etc. Manteros are migrants from countries such as Senegal and Guinea-Bissau, usually forced by mafias to work. They sell their products on the street on a blanket and pick up their goods as fast as they can and flee when they notice the police presence. The project, Metamateros consists in the creation of 3D avatars, to act as digital migrants capable to travel anonymously from metaverse to metaverse, (Mozilla hub, Decentraland, Sandbox, cryptovortex or Zuckerberg’s future metaverse) trading data and digital assets.

The work is a front-end for Carnivore, the project that mimics FBI's net surveillance software. Web-usage data of a surveillance target is displayed via well-known masterpeces by works by Cezanne, Van Gogh, and others to give trained operatives clear insight into the target's web activities.

The Loop residence program consists of XR online studios with the artists David Sainté, Inbar Hagai, Match Zimmerman, Joelle McTigue, Zhou Peng, Ryan Seslow, AdrienneRose Gionta, Angie Amaro, BBraio, Ibuki Kuramochi, cha, Wenjun Chen, and Denis Rovinskiy.

Wild Era Art: Origin Story. This robot is the arena for on canvas battles between wild art and A.I & Algorithms. Algorithms have a normalizing force where data, people, ideas and systems that bend their shapes to fit into their acceptable inputs are rewarded with greater visibility. Have you heard of Instagram Face or Face Tuning? Face Tuning algorithms use AI to adjust the size, shape and smoothness of faces and bodies before posting them. When this adjustment occurs on a photograph it is seamless, often not fully visible. When this same adjustment is applied via this robot onto a wild (and still wet) portrait painting the result is mess, scars, tension, areas of noticeable conflict between the wild and the controlled. There is a tension between who you are and who society says you should be. I paint portraits that reveal that tension. Wild vs Controlled. Which are you?

Inspired by Audre Lorde’s ‘A Litany for Survival’, MY SILENCE WOULD BE AS STONE envisions the invisible hopes and fears across the colonial history and generations of the artist’s lineage, calling upon the petition-and-response structure of the litany as both a recursive process and manifold introspection within AI conversational and image synthesis models.

The series of sculpture and paintings in this show composed under the title 'Magic Lasso', use a common photo editing tool to grapple with over-curation, censorship and skewing of perspective. The separation of space within and outside of the Magic Lasso works to censor surroundings; what must be seen and what mustn’t. It serves as an exploration of the emerging need to artificially produce and be in control of one’s image, and pushes the Magic Lasso as a utilitarian object placed in our world to streamline our perception. Displaced characters and fragments found on digital vacations on Google Street View are treated as found objects, pulled into the real world where their backgrounds disappear on a blank canvas.

In the POST paintings, Laurence de Valmy combines iconic artworks skillfully appropriated with imagined conversations on Instagram, historically accurate yet humorous. In the tradition of art appropriation, she brings her own view to existing artworks, pay a tribute to their authors, and play with the concept of originality.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

“Archetypes #1” and “Archetypes #2” are generative moving image pieces that explore the realms of duration, digital artifacts, repetition, and variation. These artworks are born from the unique synergy between creative vision and the digital medium. The genesis of these works can be traced back to the computer environment, where the artist harnessed the limitless potential of technology to create a sensory experience. These pieces seek to enchant the retinal expectation, inviting viewers to explore the ever-evolving interplay between art and technology through the language of pixels and algorithms, and the profound reflection on the digital environment. Richard Garet explores the evolution and experience of art integrated into digital files through NFTs. He seeks to bridge the medium's inherent constructs with virtual experiential conditions. This condition creates an aesthetic realm that celebrates the luminous emission of the screen, the evolving technologies that shape our visual encounters, and the ethereal surface of the screen that unifies various artistic mediums.

A neurotransmitter rush fueled by digital tools... also digital fools. The gamification of technology and media has made us eager and willing participants in a technological Pavlovian experiment. Our biochemistry is now triggered by the highs and lows of symbols rendered in the flurry of emoji shorthand. All trading is now a real time game of watching flicker free screens that promise rewards, falls, and spirals.

“When are you?” will transforms a physical space into dynamic soundscapes using a reverb system that reacts to the environment and audience, combined with ambisonics audio technology — ambisonics is a method of sound recording and reproduction that aims to create a three-dimensional auditory experience for the listener. The sounds will change according to a listener position creating an immersive experience. Conceptually, the title refers to the interchange of the temporal and spatial aspects of sound. Music unravels in time, yet in “When Are You?” music will unravel depending on the listener’s location.

We Are Being Watched is a computer-generated work comprising 4 screens and a live feed projection. Each screen displays one word of the aforementioned title, moving vertically on the screen, glitching like damaged VHS tapes or old TV reception. The projection shows a glitched live feed of the audience over the glass doors of the exhibition space, enabling people outside to see what is happening inside. The work interrogates the classic surveillance slogan We Are Being Watched by reframing the YOU as WE. This semantic alteration places the awareness in the people who are being watched while diminishing the power of the invisible watcher, the Orwellian Big Brother, the all-seeing eye of a totalitarian police state. In the 'we' there is a communal experience that empowers the surveilled targets, providing a sense of inclusion rather than fear and paranoia.

Pilgram: Naked Link 3.0 is the continuous process of a conceptual work that explores the boundaries between data visualization and art made from data collection, creating a link between scientific InfoVis & data sublimation. Pilgram 1.0, the first iteration, was made in 2015 and opened a hotspot in Havana. The 2.0 iteration showed the invisible structures that tie the U.S. (Miami) and Cuba, monitoring and analyzing the packet data traffic. The 3.0 naked links iteration will be a search for the possible changes (or not) of communication infrastructure since the 2.0 research. For the 3.0 iteration, we will display (in real-time) how the flow of communication between the two cities and the two countries is taking place nowadays. Pilgram: Naked Link 3.0 will visualize on real-time XR interfaces (extended realities) the links and infrastructure between the two countries that, in other cases, wouldn't be visible to the naked eye.

A music composition takes place in a virtual reality space, where the spectator - user - will be able to move around it, altering the music depending on where they are within the space. The work features video as well, this being part of the musical 'narrative'.

In this artwork, the intersection of digital and cultural histories is explored through the research and reimagining of “card stunts” used in various historical contexts where individuals become only a pixel and are surrogates to the collective inertia.

In a virtual environment, a set of drone-like beings analyze and manipulate an organic mass-like entity. Testing modes of interaction through varying intensities of light and touch, the drones train to interact with a section of a sentient world whose material properties are uncertain, shifting between liquid, solid, and gas states. Drawings relating to the process and environment accompany a wallpaper that serves as a simulated U.I. for future or alternate world technology where landscapes, living beings and machines are interchangeable and interconnected. Images of perhaps an inventory or interface around or inside the entities. A micro-scene from the expanded video-game experience Levels & Bosses.

Interfacing Actuality has taken the notion of interfaces as a point of entry for enacting a shift currently taking place in our reality, which is demonstrated by the phenomenon of the metaverse. This shift I have termed the prototyping of actuality. Interfacing actuality refers to the metaverse as the technical system by which the actual becomes an interface.

New Extractivism explores the concept of a new form of extractivism in the stack behind contemporary technological systems creating a blueprint of a machine-like superstructure: a super allegory.

By utilizing religious iconography from the artist’s upbringing and fusing it with contemporary queer imagery, viewers will witness an apparition that will protect and unite all who experience it.

Lans King has an NFC microchip implanted in his left hand. His "artist-self" is registered on the blockchain, and it is linked to all of his artworks. Using a variety of wearable devices, Lans collects physical, emotional, and cerebral biodata. His digital artworks are often derived or generated from that data. This virtual sculpture was generated by the artist using a brain-computer interface device that captures brain activity data. The data is fed into a generative algorithm and parametric software; each channel is mapped to a specific parameter. The software transforms an initial geometry (such as a sphere) into a variety of new forms that are unique and rare. Through this process, thoughts become forms. This specific work was generated by Lans's brainwave data as he focused his thoughts on the word "tomorrow." This work is a prototype for a performance/generative artworks called The Cyborg Manifesto. In 2024, Lans King will tour this series of performances during which he will generate virtual sculptures in real-time while wearing his brain-computer interface device. For this performance, he will spend 24 hours in a glass pod, connected to a computer running a generative algorithm. These digital sculptures will then be output as physical forms.

A garden of sculptural machines and furniture for viewing a video game inspired by fusions of futuristic industrial design, pre-Columbian sculpture, architectural renderings and video game conference aesthetics. Game Viewing Gardens brings viewers into a space partially furniture showroom and partially mythological location where beings, technology and spaces are interrelated from the neo-primordial gaming universe of Castañeda’s “Levels & Bosses: Part One”. Sculpturally reinterpreting “Let’s play” scenarios where a person showcases a walk-through of a game either online or in a stage, this work imagines the scenarios as virtual performance. Game Viewing Gardens is available on the MUD verse.

Microverse delves into the vibrational essence of the natural world. The instrument sounds without being touched, and the waves it emits are seen in space. Visitors can navigate this otherwise imperceptible reality thanks to a virtual reality experience.

The XRCamp iteration is an interactive workshop focused on real-time data visualization through integrating diverse data sources, such as crawlers, news feeds, and network traffic. In this hands-on 1.0 iteration series, participants will learn to connect dynamic libraries and data sources within the XR Creator Studio, unlocking new creative possibilities for art, data journalism, and interpreting complex societal information. Final projects from the workshop will be showcased in the XRCamp Timeline repository. The workshop series will use multiple data sources, such as interactions from past Guerrilla Hotspots in Wynwood, Los Angeles, and Puerto Rico, along with Rapid API, and others.

Will display artworks created by visual artists using the internet as a creative medium. Presenting tech-centered pieces that de-constructs our digital environment and culture and at the same time exploring the open metaverse as a place for creation within artistic practices.

Prototype No.1 The core layer where the user will be able to configure the unit cell and mint/send to print

Prototype No.1 The core layer where the user will be able to configure the unit cell and mint/send to print

Prototype No.1 The core layer where the user will be able to configure the unit cell and mint/send to print

In this artwork, the intersection of digital and cultural histories is explored through the research and reimagining of “card stunts” used in various historical contexts where individuals become only a pixel and are surrogates to the collective inertia.

By utilizing religious iconography from the artist’s upbringing and fusing it with contemporary queer imagery, viewers will witness an apparition that will protect and unite all who experience it.

As our interactions with machines evolve, exploring and creating new boundaries around immersive interfaces becomes critical. The Media Under Dystopia WISPer edition is a lab hands-on exhibition exploring how the internet and XR can become tools to democratize art creation, access, co-creation, and critical media expansion. With the MUD Foundation exhibition Media Under Dystopia Wisper edition, we are prototyping the future of our current program iterations with local, national, and international communities. "WISPer" is the acronym of "WISP," Wireless Internet Service Provider, and the word ‘whisper’. This exhibition is launching our WISPer program, creating a WISP network around the MUD Foundation venue (and beyond), where the local, national, and international communities can access the MUD Foundation exhibition program and community partners initiatives. At the same time, the audiences have art access and art creation tools through our metaverse XR platform: the MUD Verse.

On November 4, 1982 Jean Michel Basquiat had the opening of a solo show at the Fun Gallery in New York City and his date was his then girlfriend Madonna. Among the artworks exhibited, he showed the painting now titled Equals Pi. At the occasion of this show he was interviewed and declared that he wrote the words that he would hear thanks to his source materials such as books, TV or memories. The copyright emoji is a symbol he would often use in his paintings. He also once declared that “every line means something”. The artwork was created with the help of his assistant Stephen Torton who stated that he was the one who painted the background color. The painting was acquired by Anne Dayton, editor at Art Forum for $7000. In 2021, the painting was featured in an ad for Tiffany with Beyoncé and Jay Z. The brand suggested that, as the background color is ‘Tiffany blue’, Basquiat might have been inspired by the brand. This suggestion is being refuted by Basquiat’s assistant.

After WWII, Ellsworth Kelly studied art in France. In 1953 he painted Spectrum I. Unlike a rainbow the painting begins and ends with the same shade of yellow. The intervening sweep from green to golden orange makes it difficult to tell that the two yellows are, in fact, the same. After being abroad for six years, Kelly had sold only one painting and he returned to America in 1954. In France, he had felt so American. But at home, he felt, if not European exactly, then certainly out on his own. He said “In Europe at the beginning of the 20th century, the Fauves – Matisse, Derain – were using bright colors in their full intensity, which continued with Kandinsky, Malevich, Kirchner, Léger and Mondrian. They employed all the colors of the spectrum. In the 1940s and 1950s the majority of the Abstract Expressionists in New York rebelled against this European use of color and mostly used mixed colors. (…). My idea of using color at its full intensity, which began with Colors for a Large Wall, hasn’t changed in the 60 years that I’ve been painting.” The French Surrealist artist Jean Arp was among his friends in Paris. His comment refers to the series of collages titled Spectrum Colors Arranged by Chance I to VIII. In his first year in NYC, he was able to pay his rent only thanks to a loan from his friend, the sculptor Alexander Calder. He was neighbor of his friend the artist Jack Youngerman.

In February 1956, Yves Klein exhibited a series of monochromatic paintings at the Colette Allendy Gallery in Paris. He had started to paint monochromes in 1949 and declared “I painted some monochrome surfaces just to 'see’ with my own eyes what existential sensibility granted me; absolute freedom! But each time I could neither imagine or think of the possibility of considering this as a painting, a picture, until the day when I said: Why not?” Public responses to his show, which displayed orange, yellow, red, pink and blue monochromes, deeply disappointed Klein, as people went from painting to painting, linking them together as a sort of mosaic. Shocked at this misunderstanding, Klein knew a further and decisive step in the direction of monochrome art would have to be taken...For his next show, he would concentrate on one single, primary color alone: blue which will become known as International Klein Blue. The art critic Pierre Restany a strong supporter of Klein wrote the invitation of the exhibition which started with “To all those intoxicated by the machine and the city, frenzied by rhythm or masturbated by reality, YVES offers a highly rewarding cure of asthenic silence”.Yves loves Monopink

Lans King has an NFC microchip implanted in his left hand. His "artist-self" is registered on the blockchain, and it is linked to all of his artworks. Using a variety of wearable devices, Lans collects physical, emotional, and cerebral biodata. His digital artworks are often derived or generated from that data. This virtual sculpture was generated by the artist using a brain-computer interface device that captures brain activity data. The data is fed into a generative algorithm and parametric software; each channel is mapped to a specific parameter. The software transforms an initial geometry (such as a sphere) into a variety of new forms that are unique and rare. Through this process, thoughts become forms. This specific work was generated by Lans's brainwave data as he focused his thoughts on the word "tomorrow." This work is a prototype for a performance/generative artworks called The Cyborg Manifesto. In 2024, Lans King will tour this series of performances during which he will generate virtual sculptures in real-time while wearing his brain-computer interface device. For this performance, he will spend 24 hours in a glass pod, connected to a computer running a generative algorithm. These digital sculptures will then be output as physical forms.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

"Naked Link Pilgrim 4.0" visualizes 3D Google satellite maps to show internet traffic of Cuban IP addresses from 2015 to 2022, focusing on the connection between Cuba and the United States. This version extends the digital twinning concept, creating a virtual replica of key cities central to this internet linkage. It integrates historical data with real-time information in an XR lab setting, offering an immersive metaverse experience and highlighting Miami's role in this network.

Each time the front door of the venue is opened, this installation comes alive. One of 45 unique sounds is randomly triggered, creating an ever-changing auditory experience that marks the act of entry. By transforming a simple, habitual gesture into an unpredictable soundscape, this piece invites us to reflect on thresholds, presence, and the unexpected.

Impulse Impromptu I is part of a 3-piece series. This track focuses on the Turkish Instrument "Kanun". This piece grew out of extensive recordings and improvisations on the Kanun, allowing its sounds to lead to free associations and a broader sonic world than the other pieces in the repertoire. The Kanun’s resonant strings and unique timbres create a rich tapestry of sound, where some associations are clearly audible and recognizable, while others remain subtle and hidden.

You are invited to participate with your senses, entering a state of active listening—a mindset that fluctuates between fleeting moments of everyday life and an eternal, spaceless existence within the cosmos.

​​In archival research, generation loss refers to the gradual degradation of quality that happens in the physical reproduction of analog media, leaving out digital reproduction, where quality stays consistent.

Immerse yourself in Peru's rich history with "Peru's Ancestral Treasures." A fascinating exhibition with 162 pieces of gold, silver, ceramics and textiles that transport us from ancient pre-Hispanic civilizations to the Inca Empire. At the Banco do Brasil Cultural Center in Rio de Janeiro, this exhibition connects us with the past and mastery of Peru's ancient cultures.

GoCity.ai, supporting the Dear Human project, is a partnership between the MUD Foundation Inc., Next Reality Digital, and the Innovation & Technology and Historical Resources & Cultural Arts divisions of Coral Gables. Using digital twins, augmented reality, art and spoken work, the project significantly builds on Coral Gables' cultural and technological advancements by increasing accessibility of our cultural heritage through enhancement of public spaces to better foster community engagement.

Since April 2024, the MUD Foundation and Tech Kids Unlimited (TKU) have partnered on Exploring Heaven, Hell, and Everything In Between, a VR/XR project showcasing neurodiverse perspectives in immersive digital art. Through TKU’s Digital Agency program, students design virtual worlds for MUD’s XR platform, gaining hands-on experience in creative technology. These works will be displayed both virtually and in galleries, reinforcing both organizations' commitment to inclusivity and innovation in art and tech.

As the director of ZeuxisVR and an Art History professor, I use MUD XR to bring immersive art history education to life, creating virtual replicas of significant historical sites. This platform enables students and educators to explore these spaces as if on-site, enhancing cultural heritage accessibility. MUD’s cross-platform reach democratizes art education, allowing students to interact with art beyond textbooks and experience each site’s architecture and spatial context firsthand, fostering deeper engagement and retention through immersive learning. Eric R. Hupe, PhD (he/him/his) Assistant Professor of Art History Lafayette College

The O Cinema community partnership with MUD Foundation focuses on creating a virtual XR version of O Cinema to expand its reach and accessibility, allowing community members to connect with its programming online. Using the MUD platform's XR tools, the digital twin of O Cinema will provide immersive access to events, screenings, and interactive spaces that mimic the physical experience. This initiative enables O Cinema to connect with new audiences, foster digital inclusion, and extend its influence within the arts community​​​​.

Marking Creative West’s 50th anniversary, this exhibition dives into the echoes of memory, the pulse of the present, and visions of what lies ahead, offering a unique tapestry of perspectives on the passage of time. Through these 50 unique works, we celebrate the stories that have shaped the region and the ever-evolving spirit of the West.

The Loop residence program consists of XR online studios with the artists David Sainté, Inbar Hagai, Match Zimmerman, Joelle McTigue, Zhou Peng, Ryan Seslow, AdrienneRose Gionta, Angie Amaro, BBraio, Ibuki Kuramochi, cha, Wenjun Chen, and Denis Rovinskiy.

Seeming to float above Miami’s Biscayne Bay shallow seagrass beds, Stiltsville has a colorful history that dates back to the 1930s, when “Crawfish Eddie Walker” built the first shack on stilts above the water. Told in the style of a time travelling journal, with puzzles solved, games played, images captured and clues discovered, the Oculus Quest experience, will guide us through the houses, their history, their underwater sea life colonies and introduce us to their colorful caretakers.

In partnership with Microsoft, Yeah Arts, and others, we created DreamCity, a 3D immersive world reflecting young people's visions for a sustainable future using immersive technologies accessible across various devices.

Led by the M4 team in collaboration with the MUD Foundation, the Manchay Project is a transformative initiative for the San Francisco de Asís School in Manchay. Addressing educational gaps in literacy and math, it introduces the metaverse as an avant-garde learning tool. Over three years, the initiative will establish a Wi-Fi-equipped garden library, debut a metaverse learning platform, and ensure the best utilization of resources. This effort is set to pioneer a benchmark for educational strategies in developing areas.

An immersive Metaverse scene featuring a blazing sun, a planet with its moon, and a small rocket floating in a star-filled cosmos. Perfect for exploring and connecting with the vastness of the universe.

Built with international and industry partners, Gateway will be humanity's first space station around the Moon. It will support a new era of lunar exploration and deep space discovery as part of NASA's Artemis campaign to establish a lasting presence on the Moon and pave the way for the first crewed mission to Mars. Gateway's elements are being fabricated in facilities around the world. Its first two modules will launch to lunar orbit ahead of Artemis IV. For more information about Gateway, and to stay updated on its construction and journey to lunar orbit, visit nasa.gov/gateway.

Pazzi Chapel, 1430-1460, Basilica of Santa Croce, Florence Designed by Filippo Brunelleschi, this centrally planned chapter house embodies the principles of Renaissance architecture with its harmonious proportions and restrained elegance.

Michelangelo, New Sacristy (Medici Chapels), 1520-1534, Florence Commissioned by Pope Clement VII, this funerary chapel features Michelangelo’s iconic sculptures like Night and Day, harmonizing architecture and sculpture to honor the Medici family.

Benozzo Gozzoli, Magi Chapel, 1459-1461, Palazzo Medici Riccardi, Florence A vibrant procession of the Magi winds through this private chapel, blending religious themes with Medici family portraiture and opulent landscapes.

Piero della Francesca, Bacci Chapel, 1452-1466, San Francesco, Arezzo This fresco cycle narrates the Legend of the True Cross, showcasing Piero’s mastery of light, perspective, and monumental composition in sacred storytelling.

Andrea Mantegna, Camera Picta (Camera degli Sposi), 1465-1474, Palazzo Ducale, Mantua This groundbreaking fresco cycle creates an illusionistic space, with playful perspectives and a famous oculus ceiling, celebrating the Gonzaga family.

Baroncelli Chapel, c. 1328-1338, Santa Croce, Florence Painted by Taddeo Gaddi, the Baroncelli Chapel’s frescoes depict the Life of the Virgin, a key example of early Florentine Gothic art with intricate storytelling and luminous color.

Agostino Chigi Bedroom, Villa Farnesina, Rome, c. 1510 This private space in the Villa Farnesina, decorated under Agostino Chigi's patronage, features mythological frescoes, including The Marriage of Alexander and Roxana by Sodoma, celebrating themes of love, luxury, and classical antiquity.

Library at San Marco, Florence, c. 1444-1450 Designed by Michelozzo under the patronage of Cosimo de’ Medici, this elegant Renaissance library integrates classical proportions with functional design. It housed the Dominican convent’s manuscripts, reflecting the Medici's commitment to scholarship and religious study.

Refectory, San Marco, Florence, c. 1486, Last Supper Domenico Ghirlandaio painted this fresco in the Dominican convent’s refectory. It presents The Last Supper with vivid naturalism and refined details.

Sant’Apollinare Nuovo, Ravenna, c. 493-526 Originally built under Theodoric the Great, this basilica features stunning Byzantine mosaics, including processions of saints and depictions of Christ’s life, showcasing the transition from Ostrogothic to Byzantine art and religious influence in Ravenna.

Giulio Romano, Sala di Psiche, 1527-1528, Palazzo Te, Mantua This fresco cycle, commissioned by Federico II Gonzaga, illustrates the myth of Psyche from Apuleius’s Metamorphoses. Romano’s dynamic compositions and sensual details celebrate love, desire, and divine union in a richly ornamented setting.

Giulio Romano, Sala dei Giganti, 1532-1534, Palazzo Te, Mantua This immersive fresco cycle depicts the mythological fall of the Giants. Its dynamic and theatrical design transforms the room into a dramatic narrative space.

In partnership with Microsoft, Yeah Arts, and others, we created DreamCity, a 3D immersive world reflecting young people's visions for a sustainable future using immersive technologies accessible across various devices.