Digital innovation matters most when it brings people closer rather than setting them apart. That is the thread linking Pierluigi Christophe Orunesu’s commitment to Lions Clubs International with Cybel’Art’s approach: making technology a means of listening, passing things on, and serving. It also reflects the outlook of an agency for amplified opportunities that keeps people central to every project.
A culture of service
Active in Lions Clubs International since 2008, Pierluigi Christophe Orunesu chaired the Lions Club Jura-Léman in Switzerland from 2015 to 2016 and again at a later date. The organisation’s motto, “We Serve,” captures work focused on issues including vision impairment, hunger, the environment, and childhood cancer.
That service ethic echoes a conviction expressed by the founder: “With Cybel’Art, we humanise the digital, but we do not digitalise the human.” Whether the setting is a local initiative or a creative project, the aim is to keep dignity and connection in view.
Putting digital tools to work for connection
Digital tools can help service organisations coordinate their work and engage with their communities. The original article points to a club-management portal and digital workshops as examples. At Cybel’Art, the icologram® protocol offers an ArtTech perspective: volumetric capture of real artists can help document a presence, a gesture, and a story. The purpose is not to set technology against people, but to design uses around what people have to share.
Virtual immersion, volumetric capture, and digital archives also suggest possibilities for associations: making a community’s reality more tangible, retaining testimonies, or connecting support more closely to its context. These are directions raised in the article, not an announcement of a product or service currently available.
Empathy as a continuing thread
The account connects this outlook to personal history: Pierluigi Christophe Orunesu spent part of his youth at La Paisible, Audrey Hepburn’s home, and her humanitarian work is presented as an early reference point. It also cites an earlier Eurolactis initiative that donated donkey milk to Vatican hospitals for children with severe allergies, as an example of seeking concrete responses to human needs.
For Cybel’Art, that continuity takes shape in projects where content, memory, and encounter matter as much as the technical setting. Its work illustrates how digital formats can be conceived as spaces for transmission. As collective challenges become more complex, the issue is not to promise that technology solves everything, but to use it thoughtfully to serve, connect, and recognise people.
Editorial adaptation of the article by Pierluigi Christophe Orunesu, originally published on Substack on 31 July 2026. Read the original article on Substack