Recherche dans la filmographie: Arts médiatiques

«Mariée en toute sobriété, Francesca frise l'incident diplomatique avec sa belle-mère qui insiste sur un mariage à l'église... Avec un pied dans une maison de retraire, Erika se rend à une réunion de classe et y redécouvre son passé... Embarquée à la montage par ses parents, Lisa pose sa caméra sur un jeune serveur plutôt mignon... Dynamique, indépendante et enceinte, Agnès rencontre Flurin, un parfait spécimen de la population rurale... Toutes ces histoires se croisent dans cet univers simplement compliqué. DVD interactif!»
(www.artfilm.ch)

«Artificial Changelings (1998) fait appel au spectateur pour activer des tranches narratives qui correspondent aux points de vue des personnages dans le récit. Deux histoires se chevauchent. Arathusa vit au XIXe siècle. Elle est kleptomane et arpente les magasins à rayons. Cyber-pirate du XXIe siècle, Zilith apparaît dans un rêve d'Arathusa. Une série de zones balisées au sol indiquent la nature des points de vue dans lesquels le spectateur peut s'engager.»
(www.fondation-langlois.org)

«A large database of time-oriented images, and texts could be navigated, juxtaposed and/or re-oriented in time. The media-time of the image could also be explored where a participant could move forward, backward, stay still, as well as move fast forward and fast backward. An elaborate poetic text made of short individual observations about time was made available to the user of the system. The participant could juxtapose any of the video and still material, move from chapter to chapter, edit segments, trigger sequences of encoded database material in relation to chosen selected textual criteria, view a set of still images with text superimpositions, or view material in a linear mode.»(digitalmedia.risd.edu/billseaman)

«Passage Sets / One Pulls Pivots at the Tip of the Tongue (1995) is an interactive installation that functions as an elaborate navigable audio/visual poem.Three projections comprise the installation, where one video and two data projections are presented as a triptych. The central projection enables the participant to navigate through a 150-image panorama with text superimposed over the image. The participant can navigate spatially by moving over the surface of the images - move left, right, up and down through an image grid presented on the central screen.

«Participants can use this digital machine to generate, in real-time, virtual surroundings out of different digital elements, within which they can then navigate. 3-D objects can be selected, put in scale, given texture; pictures and videos can be placed and repeatedly rearranged in an ever growing world; music, as well as written and spoken texts, change the projected world into an audio-visual space of experience.» (www.p0es1s.net)

«A landscape study in a picture frame…a rower on a lake at sunset. But the painting is tilting…the rower can’t get across the water. The audience are called in to encourage the rower to traverse the painting by regular chanting.»(www.koti.org)

«A few moments of contemplation, in which the audience members are given sweets to chew and are picked up on camera and shown onscreen. The main screen shows close-ups of a sheep chewing grass, its movements are matched and responsive to those of the audience member(s).» (www.koti.org)

«A rogue camera crew is following people on the streets of Munich during Carnival. The followed people become stressed and angry and individual audience members are given the moral responsibility whether to continue the pursuit of the victims or to stop. On a second screen, the audience members themselves are displayed from a live camera feed – it is their gestures that direct the rogue camera crew to continue or to stop.»
(www.koti.org)

Le joueur doit tenter d'empêcher le protagoniste d'atteindre son but en touchant au bon moment les objets l'entourant étant momentanément identifiés "jinxed" (persécuté, maudit, accablé par le sort).