- L'École des arts numériques, de l'animation et du design (« NAD »)
- Yan Breuleux graduated with a Bachelor of Visual Arts and a Master of Industrial Design (M.Sc.A) and a doctorate in c... moreYan Breuleux graduated with a Bachelor of Visual Arts and a Master of Industrial Design (M.Sc.A) and a doctorate in composition in the Faculty of Music at the University of Montréal. Yan Breuleux is a professor at the École des arts numériques, de l’animation et du design à Montréal (NAD), he’s also a researcher and practitioner in the field of visual music for immersive display.edit
"Mapping_me", the title of this artistic research project is inspired by many questions: can archives constitute a conceptual map, a personality? Is the mapping of place through a particular viewpoint a form of self-portrait, a selfie?... more
"Mapping_me", the title of this artistic research project is inspired by many questions: can archives constitute a conceptual map, a personality? Is the mapping of place through a particular viewpoint a form of self-portrait, a selfie? Are we not, through self-archiving processes, mapping not only the real but also the individual? This Work in Progress (WIP) is currently at the stage of its second iteration. The project Mapping_me consists of a multiUser virtual reality installation allowing the Users to navigate within spatialized and geolocalized visual and sound archives using an innovative tangible interface. Specifically, the installation consists of an augmented rotating chair as a physical interface to navigate through a metaverse of digital content incorporating photographs, panoramas , texts, sounds and photos-videos in Fulldome format. The system structure allows one to quickly integrate new content into the virtual environment. The tools developed allows to generate media footprints of places and spaces diffused within a shared space in a virtual reality context. The installation makes it possible to represent not only the spaces and places but also to transpose the urban and human atmospheres thus making it possible to propose a new experience of a place as a form of sensory amplification.
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This article explores issues associated with immersive storytelling in order to examine how the field of World Building can constitute a theoretical framework for practice in the context of VR-based and Full Dome artistic projects. With... more
This article explores issues associated with immersive storytelling in order to examine how the field of World Building can constitute a theoretical framework for practice in the context of VR-based and Full Dome artistic projects. With respect to immersion, the intent will be to interpret the concept of storytelling in relation with the recent formulation of the concept of extended reality (XR). The very concept of World Building is transauthor and transmedia by nature. The transauthor dimension of World Building resides in the idea of subcreation, i.e., designing environments and interaction rules that help create a storytelling basis for generating multiple stories. Once the universe has been conceived, stories written by different authors take shape through transmedia processes across multiple distribution media (film, video games, web, etc.). The question then arises: How can the World Building approach shape the construction of immersive experiences? The article sets out to answer this question, and in doing so, to contribute to the research on environmental storytelling.
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If the medium of cinema is born of the addition of temporality to images, new trends in digital art such as architectural mapping video projection, audiovisual (A/V) performance, and new forms of immersive scenography are adding the... more
If the medium of cinema is born of the addition of temporality to images, new trends in digital art such as
architectural mapping video projection, audiovisual (A/V) performance, and new forms of immersive
scenography are adding the spatial dimension to the moving image. The latest innovations in the area of digital
arts are the result of an acceleration of a trend that can be historically identified through the multiple
manifestations of universal expositions. Today’s digital explosion is in fact a consequence of the
democratization of instruments that control light, sound, and images through increasingly sophisticated
interfaces. Avant-garde artistic approaches, with their constant push toward the dematerialization of artwork,
have merged with scenographic spatialization technologies. This merger of worlds has led to new A/V
performance productions that reveal the emergence of a new language, namely that of audiovisual
spatialization. This language leverages the creative potential of new audiovisual instruments by combining
sound and light waves with the spatial component. This paper will address this new approach based on analysis
of multiple case studies.
architectural mapping video projection, audiovisual (A/V) performance, and new forms of immersive
scenography are adding the spatial dimension to the moving image. The latest innovations in the area of digital
arts are the result of an acceleration of a trend that can be historically identified through the multiple
manifestations of universal expositions. Today’s digital explosion is in fact a consequence of the
democratization of instruments that control light, sound, and images through increasingly sophisticated
interfaces. Avant-garde artistic approaches, with their constant push toward the dematerialization of artwork,
have merged with scenographic spatialization technologies. This merger of worlds has led to new A/V
performance productions that reveal the emergence of a new language, namely that of audiovisual
spatialization. This language leverages the creative potential of new audiovisual instruments by combining
sound and light waves with the spatial component. This paper will address this new approach based on analysis
of multiple case studies.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Inscrit dans une perspective de recherche-création, cet article vise à contribuer, par l'analyse de projets artistiques, à une meilleure compréhension des spécificités du langage de l'immersion.
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L’approche topologique de l’immersion permet de determiner les types d’espaces en jeu dans les experiences immersives. On oppose le reel au virtuel mais la question est plutot de type diegetique. Il existe bien des espaces construits ou... more
L’approche topologique de l’immersion permet de determiner les types d’espaces en jeu dans les experiences immersives. On oppose le reel au virtuel mais la question est plutot de type diegetique. Il existe bien des espaces construits ou symboliques, continus ou disjoints. La topologie proposee souligne les processus de transition d’un espace a l’autre pour apprehender la frontiere entre le reel et le virtuel. Une fois ces espaces etablis, il faut inventer une grammaire 360° .
Research Interests:
This article explores issues associated with immersive storytelling in order to examine how the field of World Building can constitute a theoretical framework for practice in the context of VR-based and Full Dome artistic projects. With... more
This article explores issues associated with immersive storytelling in order to examine how the field of World Building can constitute a theoretical framework for practice in the context of VR-based and Full Dome artistic projects. With respect to immersion, the intent will be to interpret the concept of storytelling in relation with the recent formulation of the concept of extended reality (XR). The very concept of World Building is transauthor and transmedia by nature. The transauthor dimension of World Building resides in the idea of subcreation, i.e., designing environments and interaction rules that help create a storytelling basis for generating multiple stories. Once the universe has been conceived, stories written by different authors take shape through transmedia processes across multiple distribution media (film, video games, web, etc.). The question then arises: How can the World Building approach shape the construction of immersive experiences? The article sets out to an...
Research Interests:
This article explores issues associated with immersive storytelling in order to examine how the field of World Building can constitute a theoretical framework for practice in the context of VR-based and Full Dome artistic projects. With... more
This article explores issues associated with immersive storytelling in order to examine how the field of World Building can constitute a theoretical framework for practice in the context of VR-based and Full Dome artistic projects. With respect to immersion, the intent will be to interpret the concept of storytelling in relation with the recent formulation of the concept of extended reality (XR). The very concept of World Building is transauthor and transmedia by nature. The transauthor dimension of World Building resides in the idea of subcreation, i.e., designing environments and interaction rules that help create a storytelling basis for generating multiple stories. Once the universe has been conceived, stories written by different authors take shape through transmedia processes across multiple distribution media (film, video games, web, etc.). The question then arises: How can the World Building approach shape the construction of immersive experiences? The article sets out to an...
Research Interests:
Les Planètes is a "FullDome" immersive concert generated entirely in real time. The concert is made possible by the "Piano-of-Lights," an instrument that enables a visual dialogue with pianist Louise Bessette during a novel performance of... more
Les Planètes is a "FullDome" immersive concert generated entirely in real time. The concert is made possible by the "Piano-of-Lights," an instrument that enables a visual dialogue with pianist Louise Bessette during a novel performance of the work Les Planètes from composer Walter Boudreau. The Piano-of-Lights' dynamic constellations of small spheres are projected across the space of the satosphere of the Society of Art and Technology (SAT) in Montreal. The visual shapes are based on an analysis of the different sections of the score. During this process, the Piano-of-Lights emits light particles, becoming a catalyst for the dynamic constellations distributed across the dome. The project blends the tradition of colour organs and the live A/V approach of digital technology, bringing together an analogue piano, digital recording and immersive projection. The originality of this research primarily lies in the use of a colour-piano, which was designed to create a synthesis of the colour-sound association in an immersive format.