Dialectical Polyptych: an interactive movie installation

Most of the known video games developed by important software companies usually establish an approach to the cinematic language in an attempt to create a perfect combination of narrative, visual technique and interaction. Unlike most video games, interactive film narratives normally involve an interruption in time whenever the spectator has to make choices. “Dialectical Polyptych” is an interactive movie included in a project called “Characters looking for a spectactor”, which aims to give the spectator on-the-fly control over film editing, thus exploiting the role of the spectator as an active subject in the presented narrative. This paper presents an installation based on a mobile device, which allows seamless real-time interactivity with the movie. Different finger touches in the screen allow the spectator to alternate between two parallel narratives, both producing a complementary narrative, and change the angle or shot within each narrative.info:eu-repo/semantics/publishedVersio

Cadavre Exquis: motion-controlled interactive film

This interactive film, a variation on the surrealist game Cadavre Exquis, seeks the possibility of subverting the filmic discourse by exploring psychosomatic processes that may give the viewer different perceptions of cinematic time, by providing the possibility of intervening into the narrative in a disruptive way.info:eu-repo/semantics/publishedVersio

The Forking Paths revisited: experimenting on interactive film

Based on the triad film-interactivity-experimentation, the applied research project The Forking Paths, developed at the Centre for Research in Arts and Communication (CIAC), endeavours to find alternative narrative forms in the field of Cinema and, more specifically, in the subfield of Interactive Cinema. The films in the project The Forking Paths invest in the interconnectivity between the film narrative and the viewer, who is given the possibility to be more active and engaged. At same time, the films undertake a research on the development of audio-visual language. The project is available at an online platform, which aims to foster the creation and web hosting of other Interactive Cinema projects in its different variables. This article focusses on the three films completed up to the moment: Haze, The Book of the Dead, and Waltz.info:eu-repo/semantics/publishedVersio

Do young elite football athletes have the same strength and power characteristics as senior athletes?

An increasing number of young football athletes are competing in elite senior level competitions. However, comparison of strength, power, and speed characteristics between young elite football athletes and their senior counterparts, while controlling for anthropometric parameters, is yet to be investigated. Knee extension concentric peak torque, jump performance, and 20 m straight-line speed were compared between age groups of under 17 (U17: n = 24), under 19 (U19: n = 25), and senior (seniors: n = 19) elite, national and international level, male football athletes. Analysis of covariance was performed, with height and body mass used as covariates. No significant differences were found between age groups for knee extension concentric peak torque (p = 0.28–0.42), while an effect was observed when the covariates of height and body mass were applied (p < 0.001). Senior players had greater jump and speed performance, whereas an effect was observed only for the covariate of body mass in the 15 m and 20 m (p < 0.001) speed testing. No differences were observed between U17 and U19 groups for jump and speed performance (p = 0.26–0.46). The current study suggests that younger elite football athletes (<19 years) have lower jump and speed performance than their senior counterparts, but not for strength when height and body mass are considered as covariates. Emphasis should be on power development capacities at the late youth phase when preparing athletes for the senior competition level

IN[The Hate Booth]: a gamified installation to counteract hate speech

Playing an online game, interacting on a social network or in a digital gaming community is part of the daily lives of most children and youth, with effects on the development of the personality, influence on the behavior and on the ability to manage conflicts. Studies and reports have been analyzing the interactions of online players, on gaming platforms and communities, as consumers and content producers, with the aim of understanding and finding effective ways to prevent hate speech from proliferating in these digital environments. In this article, we present a gamified installation, combining narrative and participatory approaches, as a response to the proliferation of online hate speech. The game-installation [IN]The Hate Booth consists of a light booth, where the interactor can find an interactive fiction game inspired by the videogame universe. This game will be the basis of a pedagogical itinerary, aiming to reflect on experiences with online hate speech and its effects inside and outside the virtual world [1, 2]. The initiative seeks to contribute to achieving and developing the sixteenth goal of the United Nations 2030 Agenda for Sustainable Development, Peace, Justice and Strong Institutions: the construction of peaceful and just societies, and effective, accountable and inclusive democracies at all levels.info:eu-repo/semantics/publishedVersio

The enredo game-installation: a proposal to counter hate speech online

In this article we encourage conflict sensitive attitudes and multicultural awareness based on the potential for creative responses. Through digital media art and serious games strategies we seek to create safe areas for dialogue, debate, and awareness of hate speech. These solutions will be even more effective if they are based on the understanding of how different forms of expression emerge, interact, and potentially dissipate in the virtual environment. Grounded on the possibilities of digital media art, through a practice-based research methodology, we explore the process of creating a gamified counternarrative, designed with the objective of responding to hate speech, and, at the same time, capable of providing an experience of aesthetic enjoyment. Foreseeing the establishment of a collaborative network with the educational community and the non-specialized public (parents, youth, associations, educators), this project is also based on the key concepts of media and information literacy, which are important not only to understand and analyze the phenomenon of online hate speech, but also to develop strategies and tools that allow the containment of this type of speech.This publication is financed by national funds through the projects “UIBD/04019/2020 CIAC” and “UI/BD/150850/2021” of the Foundation for Science and Technology.info:eu-repo/semantics/publishedVersio

In[The Hate Booth]: a case study on how to deal with online hate speech

In today's hyper-connected world, digital games and online gaming communities occupy a prominent place in the communication system, in social media, forums or Internet communities, where online hate speech (OHS) takes place, frequently and publicly, triggering toxic environments. In this chapter we present a case study based on interviews, distributed in two sessions, to ten participants with 12 and 13 years old, and an experience over the SG In[The Hate Booth], as a counterproposal to address OHS. The qualitative data approaches three aspects: the experiences with OHS, the perspectives about OHS and the possible solutions to counteract OHS. We conclude that OHS is a common complaint from players and a characteristic behavior in game communities. Data shows that even users who don’t identify themselves with this behavior accept it as part of online environments and agree that this toxicity continues outside the in-game screen with effects in everyday life. The pedagogical approach, namely through SG, is perceived as a possible measure to counteract the OHS.info:eu-repo/semantics/acceptedVersio

Cadavre Exquis: Forking Paths from surrealism to interactive film

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Insights from a digital diary: exploring the creative process of the game-installation In[The Hate Booth]

This article proposes an approach to the creative gesture, particularly in digital art, and the methodologies that provide access to the process of creation. It suggests a study on the development of a digital diary to document and reflect on the creative process, with a specific focus on the In[The Hate Booth] project. Through analysing entries in the project's digital diary, the research explores the artistic process and the development of the artwork. The findings highlight how digital diaries may ease idea exploration, the conceptual breakthroughs, and critical insights of the creative work, also emphasizing the importance of documenting the process for digital preservation.info:eu-repo/semantics/publishedVersio

Processo criativo que (se) contamina e (se) ocupa: nos ‘entres’ de dança, vídeo e cidade

Na arte contemporânea, as videodanças contribuem para difusão da arte, visibilidade e sustentabilidade de obras, além de borrarem fronteiras, permitindo que linguagens artísticas interajam, cruzem e estabeleçam interfaces. Dentre processos intermidiáticos em artes cênicas, a videodança se destaca como linguagem híbrida e resultado do diálogo entre dança e vídeo. Assim, tecnologias digitais dialogam com poéticas da dança, diferindo-se do registro videográfico. Refletimos aspectos processuais, poéticas, estratégias e dispositivos nas interfaces entre dança, vídeo e espaço urbano na criação de uma videodança em Cataguases (Minas Gerais, Brasil). Focamos, a partir da investigação baseada na prática, na discussão do processo de criação da obra “Bárbara”. Observamos que ocorreu não somente a ocupação da cidade de arquitetura modernista pela dança e pela tecnologia digital (registro imagético). Todos esses agentes se contaminaram.info:eu-repo/semantics/publishedVersio