To re-imagine cinematic creativity, music, through the practice of sampling, remains an essential influence. Much like an electronic musician who sets apart beats, riffs and melodies to remix or mashup music tracks, cinematic interactions design samples raw fragments from cinematic realities to think their remix in diverse interactive contexts or their mashups on the web. Motions, colors, textures, characters or objects which make the core material of a cinematic world. These elements are forged to evolve, from the virtual to the augmented, on a mixed reality continuum.
Even if made possible by web technologies, cinematic interactions keep a deep connection with cinema as an art which open ways for a better understanding of our world. An art which cultivate empathy towards realities that might seem remote. Beyond their technical dimensions, the cinematic data envisioned through rizomer's projects carry meaning as well as emotional and aesthetic qualities. In the same manner, the modes of interactions designed with cinema makers are centered on people and though of in relations with the behaviors they incite.
Core ideas give directions to the design of cinematic web interactions. These ideas are the basis for conversations over the wider perspectives behind rizomer's projects.
Since the analog up to the digital, cinema makers are seeking the expression of a diversity of points of view. The rapid evolution of technologies brings this quest towards new issues. In a short (human) time, the web went from a publishing to a participatory medium. It now becomes a medium for the interaction with data from our environment. Cinematic expression therefore concerns much more than a diversity of points of view. It also concerns the diversity of human behaviors that it reveals and incite - way beyond entertainment and commerce. Cinemakers can now revisit the cinema image as digital data opening on a continuum of mixed realities.
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