Ana Perfeito e Bruno Mendes Silva

The goal of this article is to defend that now a days (with the use of digital technologies) filmmakers can also be performers — playing on equal terms with musicians in real time shows. They are able to create and tell stories in the moment, manipulating visuals elements trough analog and digital tools — such as midi controllers and softwares computers.

In the first part, we trace a state of art since the beginning of cinema (1890 with the silent films) until the present moment with the genre Live Cinema — explaining the evolution of the manipulation of images in live shows, and how the filmmaker could be or not consider a performer. 

In the second part, we tell the whole story about the Portuguese audiovisual collective “Moda Vestra” and their live cinema performances — where the filmmaker adopted the same role as the musicians (a performer). We also explain their methodology for creating a narrative with a beginning, a middle and a conclusion — and how they “play” it in real time.

At the end, we purpose a new genre that could be called real time cinema. “Cinema” because all the structures and intentions of this genre goes according to the traditional cinema. “Real Time” because the audiovisuals elements are created and mixed in the moment — considering the filmmaker a performer.

Marina Oliveto

As tecnologias imersivas estão cada vez mais sendo exploradas como um meio potencial para aumentar a empatia da humanidade (Kors et al., 2016). Assim, tecnologias de realidade virtual (VR) em particular foram popularmente propostas como as “máquinas de empatia definitivas” (Constantie, 2015; Milk, 2015), principalmente por causa das características tecnológicas que fortalecem o sentimento dos usuários de “estar lá” (Cummings; Bailenson, 2016).

A experiência se baseia no conceito de tomada de perspectiva – a capacidade de adotar ponto de vista de outra pessoa (Coke et al., 1978) -, que foi sugerido como encorajador comportamento pró-social quando usado em VR (van Loon et al., 2018). Isso porque, seguindo o conceito “sociedade da sensação”, do filósofo alemão Christoph Türcke (2010) fazemos parte de uma sociedade excitada em que os estímulos audiovisuais são a medida da percepção e da ação. Por isso, os graus de liberdade promovidos pelo conteúdo imersivo podem ser determinantes para promover a sensação e o entendimento diferenciado da história experienciada pelo usuário.

Assim, este artigo visa discutir como os graus de liberdade da imersão podem potencializar a experiência do usuário com o conteúdo imersivo. Portanto, a proposta do artigo é compreender e analisar como ocorre a percepção dos sentidos em experiências com o uso da realidade virtual (VR) ou dos vídeos interativos em 360°.

David Ferragut

Most significant changes in the history of video games are brought about by the confluence of two factors: the appearance of simulated environments from a new perspective (for example, the transition from two dimensions to three dimensions), and the development of new ways of interaction which allow the player to assimilate and manipulate the environment with features extracted from that new perception (the appearance of the multi-axis joystick as opposed to the former four-way D-pad). Virtual reality can recreate nearly perfect simulations by unfolding a universe that invades the player’s entire visible and audible space. With the release of Half- Life: Alyx, simulated worlds have become increasingly consistent, since every element of the virtual universe can be manipulated just like in real life. Several gaming publications have already considered this game the first example to leverage the potential of VR, the latest technology in immersive media. To understand this phenomenon, we firstly analyse the transformative role of VR technology in the future of video games, understood as immersive devices. Secondly, we identify the rules of interaction that govern video game fiction and examine how they might be challenged by Half-Life: Alyx. And thirdly, we consider the epistemological and cognitive problems raised by simulations with this higher degree of realism.