“d-E+E-p_d-i+V-E“ eXtended-VERSION is part of the iREAL WORLD project led by artist researcher Marc Veyrat.. He will be at the next Computer Art Congress to present his research. Also note the presence of artist researcher Gaetan Le Coarer (in Transcultures 2021 residency) for a conference entitled “AI of the Earth”.

The XR AN DOMHAN by Gaetan Le Coarer and i-REAL by Marc Veyrat will also be presented at Hiflow, a hub space bringing together several innovative companies with different exhibition spaces.

d-E+E-p_d-i+V-E – eXtended-VERSION – Projet i-REAL

i-REAL is a digital arts and hypermedia project that mixes triggered VR environments using cards placed on a JE(U) – game board. These cards are i-REALIZED with/from the social network Instagram and uploaded/posted on Pinterest. Using these connections open worlds in VR. Clues scattered across maps, the board, social media, and in VR environments can unlock blockchain and cryptocurrency… i-REAL is constantly branching out through dissemination across multiple interconnected networks — across multiple devices/worlds — we questioning the relevance of a master of the game. An AI indeed creates alphanumeric toto-portraits from the words arranged on the i-REAL Cards. These appear through the ANT-i PLATEAU arranged under the JE(U) board like a programmed mirror of the gamers when he places a Card on the JE(U) board…. The i- cartography REAL ®-PLAYS itself constantly with the help of relations between texts and images.


“d-E+E-p_d-i+V-E“ takes us into L-e_F-O+O-L i-REAL, the R-O+O-L_i of a wireframe wave 20,000 leagues under the sea… The travel -ACT® in VR introduces a luminous and phantasmagorical underwater world… Where, despite the aesthetics emphasizing a form of apparent tranquility, ecological and almost New Age, new interactivity devices will allow him to experiment with sound beaches ® -PRODUCING an exterior that is sometimes STRANGE, disturbing, noisy, muffled, rendered by the yardstick of the visible through a fiction by the depth of immersion…

Blockchain et NFT : Matthieu Quiniou /// CiTu – Paragraphe
Design and programming : Jonathan Juste /// Pixelpirate
Sound : Paradise Now /// Transcultures

AI of the Earth – Gaëtan Le Coaer

How to redesign a metaversial process of artificial intelligence on Earth. From the AN DOMHAN mixed reality project mixing VR and AR in a networked experience and shared by several bodies in the presence, we spatialize the Earth, an elliptical and architextural dark dimension between the bodies of users.

This Earth, between VR and AR allows us to enroll in a phenomenological study of artificial intelligence. This study approaches AI not in its pure algorithmic dimension (we are not engineers or programmers specialized in AI) but in its pure phenomenon where the Earth becomes the essential container of the figure of the Black Box (to which we wish bring metaverse and AI together).

Based on the posture of Lucy Suchman in particular or the works of Joseph Kosuth, John Cage or even Dan Graham, we propose the design of an AI thought of as a specific phenomenon and acting in the lived experience and the scripting of a narrative and immersive experience. of the black box (in the ground).


Computer Art Congress

Since its inception in 2002, the Computer Art Congress has brought together artists and scholars from all over the world to observe and study the manifestations and evolution of this particular art form.

7th edition of the Computer Art Congress

This edition wishes to delve into how digital arts allow for the exploration of new creative, cultural, economic and legal paradigms in relation to the rise of metaverses and NFTs. We expect for this Congress to be a solid framework for the emergence of transdisciplinary reflections, research projects and artistic experiments. The 7th edition of the Computer Art Congress will be held in Crans Montana, on September 1st and 2nd 2022.
The artistic creation evolves through its modes of representation, dissemination and monetization. The proliferation of dematerialization causes the impossibility of having a single space and moment of life unshaped, uncontaminated, uncontrolled, as Giorgio Agamben explains, « this split separates the living from itself and from the immediate relationship it has with its environment ».
Since Modernity, artists have this will to question the networking of the world (Baron Hausmann’s building sites, invention of photography, installation of railroads, aviation, sewer systems, postal services…) by bringing art closer to life. The technical evolution has increasingly imposed the presence of mechanical and electrical objects between the human body and the surrounding space. This change of paradigm was accentuated in the 60s with mass media, the birth of computer art, later on with the arrival of the Internet net-art appears in the 90s and today with the arrival of the blockchain and metaverses. Artists take a singular look at these imposed media and machines (video art, net-art, computer art, virtual art…) by diverting them and questioning the practices linked to these tools and their societal impact.
When one wonders about the components, the necessity and the identity of a tangible or intangible place, certain current devices can help us clarify the fog that our modern times nourish with the question of eSPACE, namely around the question of a media territory in network and associated with networks.
The analysis of the appearance of metaverses and digital territories invites us to look at the mechanisms behind the evolution of cities with their time. Cities are marked during their creation or their successive extensions and renovations by the techniques, cultures and social-economic projects of their time. Dubai has been declared the capital of the 21st century, an Instagram city whose development strategy is based on its potential resonance on social networks. However, the capital of the 21st century could be of another type: hybrid or entirely dematerialized, and structured around a public space in the form of a metaverse where the public space of tangible cities and their zones of exchange, as much commercial as social and cultural, could be augmented through avatars.
Will the apprehension of the sites we cross with the augmented, virtual realities, the new possibilities of modeling and perception, the communication and the diffusion of the works in the era of the digital reproducibility and the dissolution of the forms transform fundamentally our report to the world? And how will this digital insight offer us undeniably new experiences through programming and digital immersion?
With metaverses, the historical overlays and stratifications of the physical world combine with the digital world’s overlays of images and data flows. The NFTs and the anchoring on blockchain amplify this effect of historical inscription of contents and interactions. The sensory amplification offered by metaverses and the digital reification by NFTs give the artist increased modes of expression and monetization.
Blockchain and cryptography open up new possibilities for artists, especially digital and urban artists, who rarely have physical media as a marker of rarity to monetize their art. Non-fungible tokens (NFT), which are technically based on a smartcontract with a unique identifier and metadata pointing to the characteristics of the work, give artists the possibility to declare authenticity, a level of rarity for their work and to associate rights to the tokens they put up for sale. Tokenization also makes it possible to renew the relationship with collectors and, more broadly, with the public by structuring communities holders of NFTs and other tokens linked to the artist’s universe, in particular by creating decentralized autonomous organizations (DAOs). These NFTs, which are also used in video games, should progressively appear as the assets by destination of both decentralized (Decentraland, Cryptovoxels…) and centralized (Meta…) metaverses, and artistic NFTs are already exhibited in digital museums of metaverses.
This phenomenon lends itself to multidisciplinary analyses, calling upon information and communication sciences, digital art, computer science, economic and legal sciences, sociology and even digital ethnography.


Day 1 | September 1st, 2022

  • 9:30 – 10:00 Conference opening
    Anthony Masure (HEAD – Geneva), Matthieu Quiniou (Paragraphe Lab. University Paris 8), Salar Shahna (WorldXR)
  • 10:00 – 10:30 Introduction: CAC conferences & « Art » in the PostDigital Era ? | Khaldoun Zreik (Paragraphe Lab. University Paris 8)
  • 10:30 – 11:00 Coffee Break
  • 11:00 – 12:30 Session 1
    Web3 Supply Chains | Anthony Masure & Guillaume Helleu (HEAD Geneva)
    NFT between technology, art and neurosciences: a multidisciplinary approach | Francesca Pola (European Research Centre in History and Theory of the Image, University Vita-Salute San Raffaele), Alberto Sanna & Benedetta Carraro (Research Centre in Advanced Technology in Health and Well-Being, San Raffaele Hospital)
  • 12:00 – 14:00 – Lunch
  • 14:00 -15:30 Session 2
    Fractal of Periodic Spacetime Sequences as a framework for an interoperable metaverse | Adam Lukawski (MetamusicX, Orpheus Research Centre, Orpheus Institute | Academy of Creative and Performing Arts, Leiden University)
    Heart Sutra: Reflections and Mediation of Cultural-Wisdom Heritage and The Contemporary World through NFT and Augmented Reality | Jiayue Cecilia (University of Colorado, Denver), Wu and Rebecca Nie (Stanford University, Stanford) (by videoconference)
    Digital Art in the age of metaverse and NFT | Ze Gao, Anqi Wang , Varvara Guljajeva, Pan Hui, Tristan Braud (Hong Kong University of Science and Technology)
  • 15:30 – 16:00 Coffee Break
  • 16:00 – 17:30 – Session 3
    AI of the Earth | Gaetan Le Coarer (LLSETI, University Of Savoie Mont Blanc)
    Webby’s Wonder World (WWW) | Nataliya Velykanova (Gate22) (by videoconference)
    i-REAL WORLD 3 “d-E+E-p_d+i-V-E” eXtended-VERSION | Marc Veyrat (Paragraphe Lab. University Paris 8 | University of Savoie Mont Blanc)
    Patchworld – Welcome to the Musicverse | Mélodie Mousset (Patch XR)
  • 18:00 – 20:00
    NFT Apero @ HiFlow
    With local artists and participants of the conferenceDay 2 | September 2d, 2022
  • 9:30 – 10:30 Session 4
    Between Imachination and Transaction, Machine and Market: When the Artists Fight Back | Maurice Benayoun (School of Creative Media, City University Hong Kong) (by videoconference)
    Mood Themes the World | Jack Stenner & Gregory L. Ulmer (University of Florida)
  • 10:30 – 11:00 Coffee Break
  • 11:00 – 12:30 Session 5
    Fashion narratives | Alexia Mathieu (HEAD Geneva)
    Metanalysis | Ze Gao (Interdisciplinary Artist, Curator)
  • 12:00 – 14:00 – Lunch
  • 14:00 -15:00 Session 6
    NFT Shop and Making Sense of the NFT Art Market. Is NFT a blessing or a curse to digital art? | Varvara Guljajeva (CMA, Hong Kong University of Science and Technology (Guangzhou), China & ISD, Hong Kong University of Science and Technology, Hong Kong)
    Mar Canet Sola (Baltic Film, Media and Arts School, Tallinn University, Estonia)
    Artistic Explorations of Liminal Aesthetics and Their Applications for Stable Hybrid Subjectivities | Blanka Deroko (Otis College of Art and Design & LAS, CAIL, Entrepreneurial Minor) (by videoconference)
  • 15:00 – 15:30 Coffee Break
  • 15:30 – 17:00 – Round table
    NFT Digital Art Market | Matthieu Quiniou, Jeremy Gdalia, Salar Shahna
  • 17:00 – 17:15 – Conference closure: towards CAC.8
Scientific Committee
  • José-Ramón Alcala, Universidad de Castilla-La Mancha, Spain
  • Pau Alsina, Universitat Oberta de Catalunya, Spain
  • Clarisse Bardiot, Université de Rennes, France
  • Maurice Benayoun, School of Creative Media, City University Hong Kong, Hong Kong Ricardo Dal Farra, Concordia University, Canada
  • Pierre Boulanger, University of Alberta, Canada
  • Ron Burnett, Emily Carr University of Art and Design, Canada
  • Chu-Yin Chen, University Paris8, France
  • Alan Dunning, University of Calgary, Canada
  • Tania Fraga, Instituto de Matemética e Arte de Sao Paulo, Brazil
  • Malu Fragoso, Universidade Federal do Rio de Janeiro, Brazil
  • Robin Gareus, Germany
  • Antonella Tuffano, University Paris 1 Panthéon-Sorbonne, France Mariateresa Garrido Villareal, University of Peace, Costa Rica
  • Shawn Greenlee, Rhode Island School of Design, USA
  • Olga Kisseleva, University Paris 1 Panthéon-Sorbonne, France
  • Nick Lambert, Ravensbourne College, London, UK
  • Victor Lazzarini, Maynooth University, Ireland
  • Paul Magee, Independent Artist, UK
  • Roger Malina, University of Texas at Dallas, USA
  • José-Carlos Mariategui, Alta Tecnología Andina, Peru
  • Lev Manovich, City University of New York, USA
  • Nick Montfort, Massachusetts Institute of Technology, USA
  • Gunalan Nadarajan, School of Art & Design, University of Michigan, USA Guto Nóbrega, Universidade Federal do Rio de Janeiro, Brazil
  • Cedric Plessiet, University Paris 8, France
  • Laurent Pottier, Université Jean Monnet, France
  • Everardo Reyes, Université Paris 8, France
  • Winfried Ritsch, University of Music and Dramatic Art Graz, Austria
  • Juan-Carlos Sainz-Borgo, University of Peace, Costa Rica
  • Luz María Sánchez Cardona, Universidad Autónoma Metropolitana, Lerma campus, Mexico Christa Sommerer, University of Arts and Industrial Design, Austria
  • Jack Stenner, University of Florida, USA
  • Victoria Vesna, University of California, Los Angeles, USA
  • Marc Veyrat, Université Savoie Mont-Blanc, France
  • Khaldoun Zreik, Université Paris 8, France
  • Matthieu Quiniou, Université Paris 8, France
  • Carole Brandon, Université Savoie Mont-Blanc, France


  • 01 > 02.09.2022
  • Haute École d’art et de design Genève
    Av. de Châtelaine 5, 1203 Genève, Suisse
  • Hiflow
    Chemin du Champ-des-Filles 36, 1228 Plan-les-Ouates, Suisse
  • europia.org/cac7hiflow.ch


  • Laboratoire Paragraphe Paris 8 – HEAD Genève – World XR Forum – Hiflow
  • The i-REAL project receives support from CiTu – Paragraphe, 89/92 R&D, Pixelpirate, Transcultures, European Pepinieres of Creaation, World XR Forum Crans-Montana, SP3CE Gallery, Āto, XRKitchen, Société i Matériel.
  • The AN DOMHAN project is led by the Langages Littérature Société Études Transfrontalières & Internationales laboratory, and the Hypermedia Communication department of the University of Savoie Mont-Blanc. With the support of Transcultures and European Pepinieres of Creation.