The Forking Paths: an interactive cinema experience

The project The Forking Paths aims to create a set of interactive cinematographic narratives, within an applied research that seeks to transfer the spectator from an extradiegetic level to an intradiegetic level, creating a metalepsis. The intention is, above all, to analyze the possibilities of the spectator’s identification as the main character, by the manipulation of the idea of time in Cinema. We aim to reach this proposal through the use of specific narrative resources, as well as through the possibility of choice between alternative image flows. The project The forking paths is intended to be available in different media and supports suchas the Internet, touch sensitive screen devices and conventional cinemas.info:eu-repo/semantics/publishedVersio

The lives of others: an interactive installation

“The lives of others” is an interactive audiovisual installation that is based on a voyeuristic approach of the binomial inside / outside and private / public, between the finished product presentable to the public and the mechanism that generates it. This mechanism consisting of physical devices and logical-mathematical instructions usually remains in the private sphere, is the interior of the work that is not seen, which belongs only to the creator / author. “the lives of others” quest for demystify the separation of the visual apparatus and the mechanism that generates this external system, making both visible and bringing to the public sphere the elements usually hidden.info:eu-repo/semantics/publishedVersio

Europe as Ideal Landscape

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Young connected migrants and non-normative European family life: exploring affective human rightclaims of young e-diasporas

In the face of the contemporary so-called “European refugee crisis,”’ the dichotomies of bodies that are naturalized into technology usage and the bodies that remain alienated from it betray the geographic, racial, and gendered discriminations that digital technologies, despite their claims at neutrality and flatness, continue to espouse. This article argues that “young electronic diasporas” (ye-diasporas) (Donà, 2014) present us with an unique view on how Europe is reimagined from below, as people stake out a living across geographies. The main premise is that young connected migrants’ crossborder practices shows they ‘do family’ in a way that does not align with the universal European, normative expectations of European family life. The author draws on three symptomatic accounts of young connected migrants that are variably situated geo-politically: 1) Moroccan-Dutch youth in the Netherlands; 2) stranded Somalis awaiting family reunification in Addis Ababa, Ethiopia; and, 3) working, middle, and upper-class young people of various ethnic and class backgrounds living in London. Narratives shared by members of all three groups indicate meta-categories of the ‘migrant,’ ‘user,’ and ‘e-diaspora’ urgently need to be de-flattened. To do this de-flattening work, new links between migrant studies, feminist and postcolonial theory and digital cultures are forged. In an era of increasing digital connectivity and mobility, transnational families are far from deterritorialized – boundaries and insurmountable distances are often forcibly and painfully felt

The pervasive and the digital

This paper discusses two immersive story worlds between two distinct interactive artworks. Blast Theory’s A Machine to See With (2010) is a pervasive fictional experience that enables users, through the technology of their mobile phone, to become immersed within a fictional crime scenario across a real geographical setting. Dennis Del Favero’s art project, Scenario (2011), by contrast, is an interactive and immersive story that takes place in a 360-degree digital cinematic space called an AVIE (Advanced Visualization and Interaction Environment). This immersive world is a mixed reality environment, a meeting place where five real users and ten digital screen characters converge and interact through the technology of motion sensing. Participants are virtually wired into the immersive world through the performance of their movement. This paper will explore both of these artworks through original interviews the author has conducted with each of the artists

Postphenomenological performance in interactive narrative

This paper addresses the performance of bodies through a postphenomenological framework developed by Don Ihde. Through his theory, I will argue how performance is central to the stories of two recent interactive artworks: Dennis Del Favero’s Scenario (2011) and Blast Theory’s A Machine to See With (2010). Both artworks are distinct interactive narratives that utilize the human body in different ways. In each experience, it is essential for the user’s body to perform with a technology in order to move the story through a sequence of events. In doing so the user as a performing body co-authors the story by interfacing with a technology in a specific way. My readings of the artworks are based on interviews that I have conducted with each of the artists. I pair these accounts with Ihdeian analysis to explain how different types of technologies and different uses of a technology break down into different human-technology relationships. I use these relationships to show how the story in each artwork is mobilized through the body of the participant as a postphenomenological performance