Javier Ideami

🚀 LAUNCH: αRTivellux Lab — A Living Framework for Perception in an Age of Paradox We live suspended between freedom & overload, connection & isolation, data & meaning. The need for a coherent, living framework is urgent. I’m Natalia RT, Meta-Composer & Meta-Neuro Art Architect. After years of research, I’m launching αRTivellux Lab — a transdisciplinary system where science, humanities, and art converge into structured daily experiences. This is Meta-Neuro Art: a practice that restores coherence, attunes perception, and transforms pressure into clarity. 🌌 The Core: The Day’s DNA A daily 90-second sonic composition generated from live planetary data (Schumann Resonance, solar activity, lunar cycles), sourced from leading observatories. It’s not music about nature — it’s music with nature’s own metrics. An adaptive algorithm weaves this data into a personalized sonic environment that aligns your nervous system with Earth’s rhythms, dissolves stress, and cultivates a centered presence. This is Meta-Composition: composing at the scale of reality itself. ⚡ A Three-Movement Practice: The Day’s DNA – Daily 90-second harmonic anchor. Micro-Protocols (Neuro-Triggers) – Sonic tools for focus & integration. The Heights – Weekly deep dives where science, humanistics, and art collide. 💡 The Value — For You & The Field: Clarity, Resilience, Creativity through structured resonance. A New Discipline — Meta-Composition, using reality as material. A New Framework — Neuro-Diplomacy: building bridges through shared harmonic experience. From isolation to co-creation — your engagement adds to a global composition. 🎯 You’re Invited to the Conductor’s Podium This is not passive listening. You are a co-compositor. • Experience today’s sonic reset on YouTube (video below — use headphones). • Join the dialogue & practice in our Agora on Telegram: https://lnkd.in/dibQX5hW The score is written in real-time: data as notes, your perception as the instrument, the planet as maestro. Take the podium. Raise your baton. ✨ Subscribe to begin: https://lnkd.in/d_Z8zwEb #NataliaRT #αRTivellux #aRTivellux #Natali⟨αRT⟩ivellux #MetaNeuroArt #MetaComposition #TheDaysDNA #SonicDNA #DoubleHelixMethod #MicroProtocols #NeuroTriggers #Agora #TheHeights #NeuroDiplomacy #SchumannResonance #NeuroAcoustics #DataSonification #ComposingWithEarth #PlanetaryConsciousness #SovereignUnity #ConsciousnessOrchestra #ExperimentalMusic #FutureOfMusic #ScienceAsArt #TransdisciplinaryArt #ResonanceRevolution #CognitiveAlignment #PerceptualTransformation #GeophysicalMusic #EmbodiedClarity #HarmonicAlignment #MindBodyResonance #Neuroplasticity #CoCreation

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𝗧𝗛𝗘 𝗠𝗜𝗫𝗔𝗠𝗢 𝗙𝗢𝗥 𝗧𝗛𝗘 𝗚𝗘𝗡-𝗔𝗜 𝗔𝗚𝗘 I'm an advocate for more creative control in gen-AI tools. Not node-based editing on infinite canvas boards. Wrong sort of control. I want DIRECT manipulation. Visual thinking. Doing, not describing. This is why I'm excited about Kinetix (https://www.kinetix.tech): ✅ Upload your image (style reference, character, and scene) ✅ Film your own action scene, or use their reference library ✅ Select camera movement from library of live previews ✅ Supported with simple text prompts for best results This is the future I want. Less hours setting up custom node boards. Less typing, more doing. Let's face it: visual creatives don't generally aspire to write copy/scripts or code (even when the code is hiding behind nodes). 𝗟𝗲𝘀𝘀 𝘁𝗲𝘅𝘁 𝗽𝗿𝗼𝗺𝗽𝘁𝗶𝗻𝗴. 𝗠𝗼𝗿𝗲 𝗱𝗶𝗿𝗲𝗰𝘁 𝗰𝗼𝗻𝘁𝗿𝗼𝗹. 𝗪𝗵𝗮𝘁 𝗜'𝗱 𝗹𝗼𝘃𝗲 𝘁𝗼 𝘀𝗲𝗲 𝗻𝗲𝘅𝘁: 𝗦𝘁𝗮𝗻𝗱𝗮𝗹𝗼𝗻𝗲 𝗰𝗮𝗺𝗲𝗿𝗮 𝗰𝗼𝗻𝘁𝗿𝗼𝗹: I don't work with 2D, 3D, or live action characters every day. But I DO need camera control constantly. Let me use just the camera controls on their own, without the character motion system. Camera path, target, movement preview. That's the tool I'd use daily. Think product shots, flythroughs, etc 𝗗𝗶𝗿𝗲𝗰𝘁 𝗶𝗻𝘁𝗲𝗴𝗿𝗮𝘁𝗶𝗼𝗻: I want this IN Adobe Creative Cloud After Effects or Cinema 4D. Not export/import/hope. Native timeline integration like Tether is doing. Control the camera in my workspace where I'm already thinking. 𝗠𝗼𝘁𝗶𝗼𝗻 𝗰𝗹𝗶𝗽 𝗯𝗹𝗲𝗻𝗱𝗶𝗻𝗴 (𝗹𝗶𝗸𝗲 maxon 𝗖𝗶𝗻𝗲𝗺𝗮 𝟰𝗗'𝘀 𝗠𝗼𝘁𝗶𝗼𝗻 𝗖𝗹𝗶𝗽 𝗦𝘆𝘀𝘁𝗲𝗺): Merge different mocap sequences together. Some action shots aren't safe to film at home (jumping out a window, falling 3 stories). 𝗦𝗼𝗹𝘂𝘁𝗶𝗼𝗻: convert video to AI mocap → timeline editor to set action sequences with time and position controls → blend multiple captures into one performance using motion clip blending. This would also enable sequential clips to extend runs. 𝗖𝘂𝘀𝘁𝗼𝗺 𝗰𝗮𝗺𝗲𝗿𝗮 𝗲𝗱𝗶𝘁𝗼𝗿: The library is great, but what can I say, I am greedy. A-to-B tween controls. Camera path and target rig. Advanced settings: field of view, f-stop, focus distance, etc. 𝗠𝘂𝗹𝘁𝗶-𝗰𝗵𝗮𝗿𝗮𝗰𝘁𝗲𝗿 𝘀𝘂𝗽𝗽𝗼𝗿𝘁: Currently single character only (unless Kinetix partners with Move.ai). Multiple characters means creating the same sequence multiple times, which gets complicated fast. But even with these missing features, Kinetix gets the fundamentals RIGHT: 𝗦𝗵𝗼𝘄 𝘄𝗵𝗮𝘁 𝘆𝗼𝘂 𝘄𝗮𝗻𝘁. 𝗖𝗼𝗻𝘁𝗿𝗼𝗹 𝗵𝗼𝘄 𝗶𝘁'𝘀 𝗳𝗶𝗹𝗺𝗲𝗱. 𝗟𝗲𝘁 𝗔𝗜 𝗵𝗮𝗻𝗱𝗹𝗲 𝘁𝗵𝗲 𝗿𝗲𝗻𝗱𝗲𝗿𝗶𝗻𝗴. That's the interactive control future we need. Not "describe this perfectly in text." Not "spend 3 hours wiring nodes." 𝗔𝗖𝗧. 𝗗𝗜𝗥𝗘𝗖𝗧. 𝗖𝗥𝗘𝗔𝗧𝗘. #Kinetix #AIVideo #CreativeControl #MotionCapture #VideoGeneration #3DAnimation #AITools #CreativeTech #LessPromptingMoreControl #AfterEffects #Cinema4D

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I've been experimenting with jellyfish 🪼 as subjects for AI real-time video generation. Here are some results... Jellyfish are absolutely incredible objects for video generation work. Their natural translucency and flowing tentacles lend themselves perfectly to various coloristic interventions and visual effects. What really impressed me was the subtle physics fidelity - when the rotation started, the tentacles followed proper inertial physics, creating really organic and (almost :D) believable movement. This is powered by the SOTA Krea Realtime 14B model and our Daydream Scope, which is open-source; you can contribute to it!

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Concept art just got a new engine. This piece in Medium shows how generative AI is being used to build mythic worlds, not just automate tasks. For filmmakers and studios, this collapses the timeline from idea to image. It makes pre-production a more fluid, exploratory phase. You can discover a character's look by talking to the machine, not just briefing an artist. The article highlights a key shift: 1. Prompting becomes a creative skill, a form of direction. 2. World-building can happen at the speed of thought. This is less about technology and more about resurrecting imagination. Check the full article here: https://lnkd.in/gknHpfsR

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5 Lessons from Building ‘Bootstrap Island’: Best Practices for Creating Truly Immersive VR Worlds via Road to VR https://ift.tt/wPnqd0K Every game is the result of thousands of choices. Some of these choices are creative, some technical, and some concern the scope and budget. After pouring sweat and tears into a project, there is nothing more heartbreaking for a game developer than realizing that some early choice made long ago was not the best one from the end user’s perspective. In this Guest Article VR developer Rein Zobel offers hard-won lessons in creating rich, immersive VR worlds. Guest Article by Rein Zobel Rein Zobel is the Creative Director and Co-founder of Maru VR, an Estonian studio specializing in immersive VR development. Since 2016, Maru VR has created more than 40 location-based VR projects across education, entertainment, and training. Their debut premium title, ‘Bootstrap Island‘, launched in Early Access in 2024 and is planned for full release in Q1 2026. VR is a complicated market where success is hard-earned and failures are far too common. Sadly, most of us do not have the luxury of extensive prototyping and focus-group testing, so we often have to rely on our gut. We got lucky in that regard. Before we started working on Bootstrap Island, a highly realistic VR survival game inspired by Robinson Crusoe, we spent years creating projects for various clients, from rescue training simulators to location-based tourism experiences. With over 40 completed projects, we had the opportunity to learn and test the medium through short, three to six month development cycles. When we started the company in 2016, VR was new and client briefs were often vague. That gave us a lot of creative and technical freedom. We experimented with different tools and techniques, such as drone photogrammetry and branching narratives, and learned a lot from the process. Even more importantly, we received direct feedback from users, often observing them in real time as they played, with live commentary. This became our VR education, and we are more than happy to share some of the takeaways that guide our design principles today. First, here’s a glimpse of what we’re building: 1. Meet Player Expectations VR players come in with strong assumptions and extremely high expectations. They expect to be amazed from the moment they put on the headset. Unlike traditional games where players may ease in gradually, VR demands full attention and instant engagement. Putting on the headset, especially for the first time, is a source of excitement. It might even feel scary, as you are blocking out the real world and leaving yourself vulnerable to what is about to happen in this strange virtual domain. The player’s mind and body are in the world from the very first second. If that first moment does not feel right, if movement feels off, visuals break immersion, or onboarding drags, the illusion collapses immediately. Long non-interactive intros, logo screens,...

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New Episode Drop! Legendary XR blogger and developer “Skarred Ghost” Antony Vitillo joins the The AI/XR Podcast to share insights from a decade of covering immersive tech. Broadcasting from Torino, Italy, Tony’s journey to becoming Europe’s “Master Yoda” of XR is rooted in skepticism of hype and a focus on practicality, leading his blog to 30K+ followers. In a discussion with Ted Schilowitz Rony Abovitz, and me Tony explores why “product vs. prototype” gaps hinder projects, why XR is more challenging than Mars landings, and why mass adoption may rely on neuroscience and social acceptance as much as engineering. Tony emphasizes that only rare combinations of timing, use-case, and realism achieve breakthroughs. His pragmatism offers a realistic hope for the future of spatial computing. Special thanks to our episode sponsors Zappar and Viture!

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Antonio Luigi Pinna Independent Researcher in AI Architectures | Creative Oblivion Framework Note before you start: I don’t usually write “provocative” posts. But when I read the interview with David Rothschild on the Agentic Economy, I felt a void. They talk about agents that communicate, negotiate, transact. But no one talks about what happens when those agents learn — and in doing so, forget who they are. That’s why I wrote this! We are building an economy of AI agents with amnesia. This week I read the interview with David Rothschild (Microsoft) on the Agentic Economy. His reasoning is fascinating: agents communicating directly with one another, friction reduction, the end of the attention economy, the rise of the preference economy. A network of agents negotiating, searching, and transacting on our behalf. But as I read it, something felt missing. We are designing the nervous system of this new economy — yet no one is talking about the brain. Rothschild focuses on communication channels (open vs. proprietary). On market power. On protocol. And I agree: communication architecture is power architecture. But there is another architecture — deeper — that is being ignored: the architecture of memory. If my agent continuously learns but, in doing so, forgets my values… If your agent negotiates perfectly but becomes “poisoned” by a malicious interaction… If a political refugee’s agent “forgets” the principle of non-refoulement during an update… What kind of agentic economy is that? Catastrophic Forgetting is not a minor technical issue. It is an existential risk for trustworthy AI. In the Creative Oblivion Framework (COF), we inverted the problem: We don’t ask: “How do we prevent forgetting?” We ask: “What must remain immutable?” The answer is the Cognitive Zero Point (CZP): a protected operational core containing ethical principles, safety constraints, and identity. Then, through Cognitive Zeroing Cycles (CZC), the agent can: · Forget noise · Consolidate knowledge · Return to operation lighter and better aligned An agent that forgets strategically is more efficient. And more reliable. Returning to the interview: Rothschild says: “Whoever controls the communication channels controls economic power.” I would add: “Whoever controls the agent’s memory and identity controls trust.” And in an agentic economy, trust is the only real currency. So the question for those building agents today is: Are you building an agent that knows how to communicate — or an agent that knows who it is? Because without identity, communication is just noise. Thanks to David Rothschild and Microsoft Research for opening this conversation. My paper “Creative Oblivion Framework v4.0” is available for those who want to go deeper. #AgenticEconomy #AI #CreativeOblivion #TrustworthyAI #Innovation #FutureOfWork

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