Category Archives: cinebits

Des données ouvertes narratives

Après nos deux causeries de l’hiver et du printemps (Machines à conter et Narrations interactives & Big Data), la question des données continue son chemin au sein du chapitre provençal de Storycode. Pour mieux cerner cette question, je reprend l’angle d’approche qui nous … Continue reading

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Interactive beings, interactive documentaries

  This post was first published for the i-docs blog and reflection group on the emerging forms of interactive documentaries.   Interactive beings are interactive documentaries Interactivity starts within me. What I experience from the world and people around me … Continue reading

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Le temps d’un torrent

Le temps d’un torrent, je me demande qui sont les pairs qui contribuent les pièces du fichier de cinéma qui se construit sur ma machine. Les pairs vont et viennent dans un onglet de l’interface mais, qu’est ce qui nous … Continue reading

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Interactions avec l’image en mouvement: gratter la surface

Des interactions avec l’image en mouvement font revisiter l’idée d’interface et l’idée de séquence d’images. D’un côté, l’interface informatique qui articule des fonctions implantées pour l’utilisateur. De l’autre, la séquence d’images cinématographiques: le plan, qui articule des formes imaginées par … Continue reading

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Digging for cinematic channels

  Many technologies now call for deeper manipulations of video streams. The recent HTML5 welcomes video as an integral part of the web through the <video> and <canvas> tags. Javascript libraries are stimulating the imagination for play with motion graphics. … Continue reading

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Codes and Cinema: Isn’t cinema always about mobile context?

  Image : cinebits from the controversial film Salò by Pier Paolo Pasolini : what did the filmmaker perceive with his concept of “cinemes”? how can it inspire sensibility, “sympathy for context” in mobile web design? As my exploration of … Continue reading

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Codes and Cinema: Moving away from the length-based mold

  How long will cinema keep its reference to a time where cinematic imagery was deployed onto physical film? Will the length-based mold simply copy-paste to the web? If filmmakers such as Griffith or Eisenstein explored (on celluloid) the cinematic … Continue reading

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