I_doc workshop 2013 / Nyon, Switzerland

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I_doc workshop 2013 / Nyon, Switzerland

  1. 1. General overview of the field, basic questions and topexperts answering themArnau Gifreu Castells
  2. 2. Recommended citation (PhD research):ESPGifreu, Arnau (2012), El documental interactivo como nuevo géneroaudiovisual. Estudio de la aparición del nuevo género, aproximación a sudefinición y propuesta de taxonomía y de un modelo de análisis a efectos deevaluación, diseño y producción. [Tesis doctoral]. Barcelona: UniversidadPompeu Fabra. Departamento de Comunicación.ENGGifreu, Arnau (2012), The interactive documentary as a new audiovisual genre.Study of the emergence of the new genre, approach to its definition andtaxonomy proposal and a model of analysis for the purposes ofevaluation, design and production. [Doctoral Thesis]. Barcelona: UniversitatPompeu Fabra. Communication Department.
  3. 3. 1. Introduction/setting the field2. State of the art/development3. Moments of innovation4. Metamentaldoc5. Evolution6. History7. Definition8. Modalities9. Features10. Case study productionIndex of content
  4. 4. 1. INTRODUCTION / SETTING THE FIELD
  5. 5. FICTION NON-FICTIONFICTION GENRES NON-FICTION GENRESFull-length film DocumentaryShort film Report... ...INTERACTIVE FICTION INTERACTIVE NON-FICTIONVideo gameNarrativeORIGINAL FRAMEWORK FORTHE STUDY OF THE NEW GENRECALLED “INTERACTIVEDOCUMENTARY”Settingthe field
  6. 6. Traditional Documentary + New Digital Technology=Interactive Documentary
  7. 7. Documentary Genre + Digital Media + Net=Interactive DocumentaryExpanded Documentary
  8. 8. 2. STATE OF THE ART/DEVELOPMENT
  9. 9. THEORETICALWORKS BYAUTHORS:READING+ANALYSISBill NicholsErik BarnouwRichard BarsamMichael RenovElisenda ArdèvolMichael RabigerJan BreschandJosetxo CerdànAlan RosenthalPaul RothaMagdalena SellèsAlejandro CockEtc.RESOURCESSEARCHOffline:LibrariesArchivesOnline:Web (metasearch engines)Proposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of VicMETHODOLOGY / DOCUMENTARY GENRE
  10. 10. AUDIOVISUALWORKS(Documentaries)La sortie des ouvriers des usines (1895) - Germans LumièreNanook (1922) - Robert FlahertyCelovek kinoapparatom (1929) - Dziga VertovBerlin, die Synphonie eines Grosstadt (1927) - Walter RuttmanÀ propos de Nice (1930) - Jean VigoRegen (1929) - Joris IvensDrifters (1929) - John GriersonListen to Britain (1942) - Humphrey JenningsWhy We Fight (1943) - Frank CapraDu und mancher Kamerad (1955) - Andrew and Annelie ThorndikeDet Stora Äventyret (1953) - Arne SucksdorfGlas (1958) - Bert HaanstraChronique d’un été (1961) - Jean RouchSee it now (1951) - Edward MurrowHigh School (1968) - Fred WisemanPrimary (1960) - Richard LeacockLa Jetée (1962) - Chris MarkerHealth Care: Your Money or your Life (1977) - John AlpertThe Thin Blue Line (1988) - Errol MorrisHuman Reminds (1998) - Jay RosemblattRoger & Me (1989) - Michael MooreEtc.METHODOLOGY / DOCUMENTARY GENREProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of Vic
  11. 11. THEORETICAL WORKS BYAUTHORS:Lev ManovichJanet MurrayGeorge LandowRaymond KurzweilTed NelsonXavier BerenguerIgnasi RibasLluís CodinaHugo PardoCarlos ScolariManuel CastellsEtc.RESOURCES SEARCHOffline:UniversitiesLibrariesOnline:Web (metasearch engines)Proposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of VicMETHODOLOGY / DIGITAL MEDIUM
  12. 12. INTERACTIVE WORKS ANALYSISOFFLINEAu cirque avec Seurat (1996)Dotze sentits (1996)Joan Miró. El color dels somnis (1998)Le Louvre. El palacio y sus pinturas (1994)Le mystère Magritte (1996)Makers of the 20th Century (1996)Moi, Paul Cézanne (1995)Musée d’Orsay. Visite virtuelle (1996)Operation Teddy Bear (1996)Online (interactive multimedia applications)Andaman Rising (2008)Canto do Brasil (2006)Génération Tian’Anmen (2009)Our first loves (2009)Remembering Bogle Chandler (2008)Theban Mapping Project (1997)Etc.METHODOLOGY / DIGITAL MEDIUMProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of Vic
  13. 13. THEORETICAL WORKS BYAUTHORS: Timothy GarrandGlorianna DavenportSandra GaudenziJulia Scott-StevensonMandy RoseDenis PortoKate NashJacobo SucariMike MurtaughMitchell WhitelawNick MontfortChris Crawford Etc....Proposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of VicMETHODOLOGY / INTERACTIVE DOCUMENTARY
  14. 14. WEB SEARCH+ ANALYSISEXAMPLES OF I-DOCSOnlineBCNova (2003)Becoming Human (2008)Capturing Reality: the Art of Documentary (2008)360degrees (2001)Gaza Sderot (2008)GDP: Spacing Montreal (2009)Guernika, pintura de guerra (2007)Hope: Living and Loving with HIV in Jamaica (2006)Journey to the end of the coal (2008)The big issue (2009)The Iron Curtain Diaries (2009)Jazz Loft Project (2010)When we left earth (2010)Etc.OfflineWritten documentsProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of VicMETHODOLOGY / INTERACTIVE DOCUMENTARY
  15. 15. DOCUMENTARYGENREINTERACTIVENARRATIVES(TRANSMEDIA)Proposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of VicDIGITAL /INTERACTIVE MEDIUMINTERACTIVEDOCUMENTARY
  16. 16. 3. MOMENTS OF INNOVATION
  17. 17. MOMENTS OF INNOVATIONSummary: This project detects, lists and describes moments of connectionbetween technology and the documentary genre. You can find moments ofintersection relative to key concepts as Immersion, Location, Participatory,Interactive, Remix, Data visualization and Shorts.Produced: 2012, United States, The Netherlandshttp://momentsofinnovation.mit.edu/Company/producer: MIT Open Documentary Lab – IDFA DoclabAuthor(s):Written by William UricchioProject Management by Sarah WolozinContent Development by Katie EdgertonTHE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  18. 18. 4. METAMENTALDOC
  19. 19. A colleague commentary on education during E-week 2011 (Digital Event)at Vic, Spain:“Coming from 3D real-time videogames, a traditional lecturefor a student nowadays is similarly to watch one of the firstblack and white films of the Lumieres brothers”Current students need a new educational system / model!THE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  20. 20. PROCESSES/BEHAVIORS TYPES OF I-DOCS1. Viewing (observer) 1. Linear documentary2. Learning (student) 2. Interactive Documentary(teaching)3. Playing (player) 3. Interactive Documentary(navigation)4. Sharing (interactor) 4. Generative Documentary(interaction)THE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  21. 21. The economy experience (1998). B. Joseph Pine II and James H. Gilmore1. Lineardocumentary(Viewing)3. InteractiveDocumentary(Navigation / Playing)2. InteractiveDocumentary(Learning)4. GenerativeDocumentary)(Interaction /Sharing)THE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARYHorizontal axis: describes the degree of user participation (active orpassive)Vertical axis: describes the connection or relationship that links usersandenvironmental project (absorption or immersion)Examples:Absorption = watching movie at home(alone, small screen, no environment)Inmersion = watching movie at cinema(audience, big screen, environment)Passive participation = observers/listenersActive participation = playing key roles increating the performance or event
  22. 22. METAMENTALDOCSummary: Audiovisual and online interactive documentary that reflects on thedocumentary genre.Produced: 2009-2011, Vic (Spain) www.metamentaldoc.comCompany/producer: Audiovisual Communication end of degree project.Specialisation in multimedia. University of Vic.I-doc Direction: Arnau GifreuDocumentary Direction: Ingrid BlascoAuthor(s): Ingrid Blasco, Glòria Campos, Myriam Figueira, Arnau Gifreu, MarcMolinos.Case studies developed at the University of VicTHE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  23. 23. Case studies developed at the University of VicMETAMENTALDOC / SCHEMETHE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  24. 24. 5. EVOLUTION
  25. 25. COMPARED EVOLUTIONSummary: In this series of animation we introduce an original combinedevolution of the digital and documentary mediums, in which it is interesting toobserve that there are some significant coincidences in time between them.Our aim is to link moments of innovation in the documentary genre andstorytelling in general with technological experiments, inventions andpioneering concepts in the digital field.Produced: 2012-2013, Arenys de Mar (Spain)Company/producer: PintaoAuthor(s): Catalina Acelas and Arnau GifreuTHE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  26. 26. 6. HISTORY/STAGES
  27. 27. HISTORY - STAGESSummary: Series of videos showing a sample of representative examplesproducedin the interactive documentary field (period 1980-2013)Produced: 2012-2013, Arenys de Mar (Spain)Company/producer: PintaoAuthor(s): Ricard Parra and Arnau GifreuTHE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  28. 28. HISTORY - STAGESSTAGES/PERIODS1. Precedents and antecedents. Birth of the interactive documentary (1980-1990)2. Emergency and experimentation on interactive documentary (1990-2000)3. Constitution and consolidation of the interactive documentary (2000-2010)4. Diversification of interactive documentary. Latest trends. Towards a possibleinstitutionalizationTHE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  29. 29. PERIODS/STAGESTEMPORALPERIODEXAMPLES TECHNOLOGIES COMPANIES/PRODUCERSEVENTS ANDCONGRESSESSPECIFICSOFTWAREPrecedentsandantecedentsXX Century(1980 - 1990)Aspen MovieMap (1980,MIT)Sim City(1989, WillWright)InteractiveessaysCinematographer(cinema, video)Interactive digitalmedium (computer)VideodiscOptical memoriesNational FilmBoard of Canada(NFB)AppleMultimedia LabBirth of theinteractivedocumentaryXX Century(1980 - 1990)Moss landing(1989, AppleMultimediaLab)InteractiveessaysCinematographer(cinema, video)Interactive digitalmedium (computer)VideodiscOptical memoriesAppleMultimedia LabArteTVProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of VicSummary table: interactive documentary overview: (0) Stages, Temporal periods related (1), Examples (2), Technologies (3), Producers (4),Events and Congresses (5) and Specific Software (6)1. INTERACTIVE DOCUMENTARY OVERVIEW
  30. 30. InteractivedocumentaryexperimentationXX Century(1990 -2000)Inmemory (1997,Chris Marker)Boston RenewedVistas (1995-2004, GloriannaDavenport)CD-Roms ofcultural diffusionThe CriterionCollection(The VoyagerCompany)Web (1.0) ConText (EvolvingDocumentary)GloriannaDavenport y MikeMurtaugh(The VoyagerCompany)DocumentaryOrganization ofCanada (DOC)UpianAlexandre BrachetFlorian ThalhoferConText (MIT)Director(Macromedia)Flash(Macromedia)Summary table: interactive documentary overview: (0) Stages, Temporal periods related (1), Examples (2), Technologies (3), Producers (4),Events and Congresses (5) and Specific Software (6)1. INTERACTIVE DOCUMENTARY OVERVIEWPERIOD TIME EXAMPLES TECHNO. PRODUCERS EVENTS SOFTWAREProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of Vic
  31. 31. InteractivedocumentaryconsolidationXXICenturyFirst decade(2000 -2010)BecomingHuman (2000)BleedingThrough(2003),LabyrinthProject)"Guernica,pintura deguerra" (2007)Gaza Sderot(Arte y Upian,2008)InteractivereportMobile devices,television, HDWeb 2.0LabyrinthProject(Norman M.Klein, MarshaKinder,RosemaryComella andAndreasKratky)HonkytonkFilmsKaterina CisekMatt AdamsIDFA DOCLAB(2007)ICIDS(InternationalConference onInteractiveDigitalStorytelling,Vancouver,Canada, 2008)K-Films(KorsakowFilms)KLYNT(Honkytonk)Flash(Macromedia)HTML 4(+CSS2,Javascript, etc.)PD (GEM),Processing,Isadora, Modul9 (instalations)Summary table: interactive documentary overview: (0) Stages, Temporal periods related (1), Examples (2), Technologies (3), Producers (4),Events and Congresses (5) and Specific Software (6)PERIOD TIME EXAMPLES TECHNO. PRODUCERS EVENTS SOFTWARE1. INTERACTIVE DOCUMENTARY OVERVIEWProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of Vic
  32. 32. Interactivedocumentarymass productionXXICenturySeconddecade(2010 -2020)Prison Valley(Arte yUpian, 2010)Mapping TheStreet (2010)Out myWindow(Highrise,NFB 2010)Essay, reportandinteractivenon fictionformsUltra hd3DWeb 3.0(Web 4.0)NFBArteUpianHonkytonkSubmarineChannelI-DOCSSYMPOSIUM2011I-DOCSCONFERENCE20123WDOC Studio(Hecube)ZeegaHTML 5(+CSS3,Javascript –Jquery), Ajax,etc.)Summary table: interactive documentary overview: (0) Stages, Temporal periods related (1), Examples (2), Technologies (3), Producers (4),Events and Congresses (5) and Specific Software (6)PERIOD TIME EXAMPLES TECHNO. PRODUCERS EVENTS SOFTWARE1. INTERACTIVE DOCUMENTARY OVERVIEWProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of Vic
  33. 33. 7. DEFINITION
  34. 34. Definition“A thousand forms of Docmedia are blooming now.Webdocs are web-intended reality-based mega-digitalinformation bases. Or metalinear webnet experiencesbased on fact. Docmedia are online all the time. We nolonger live in a real geographical space, nor entirely inour own bodies. We live, as sentient beings, in anonline space called docmedia. We are immersed in apervasive, invasive, overwhelming docmedia culture. Itis as ubiquitous as the air we breathe.” (Wintonick,2011, quoted by Lietaert, 2011:7)
  35. 35. Definition“Docmedia drag us into the future – to live in a newPangaean super-continent as digital natives. Docmediaare ingested, replicated and passed on. Docmedia areglobal, accessible and instant. They project personal,public and poetic points-of-view – from multipleperspectives. They can be spontaneous, contrived orinteractive. But always infused with the ethical DNA ofdocumentary.” (Wintonick, 2011, quoted by Lietaert,2011:7)
  36. 36. DefinitionI-DOCS GROUP“For us any project that starts with an intention todocument the ‘real’ and that does so by using digitalinteractive technology can be considered an i-doc. Youwill find here projects that have been described elsewherewith all sorts of names (web-docs, cross-media docs,cross-platform docs, locative docs, docu-games,installations, digital performative docs… to state a few).For us what counts is the link between digital interactivetechnology and documentary practice.” (i-docs.org, 2012)
  37. 37. Definition“In this research any project that starts with an intention todocument the “real”, and that does so by using digitalinteractive technology, will be considered an interactivedocumentary. This definition puts the emphasis on theinteractive-native nature of the artefact, and on thedocumentation intentionality of the author. [...] Where, asseen before “reality” is understood as any mediatedmaterial (where mediation might happen through oursenses, our mind or our media) that we make sense of –or make sense through- to establish a meaningful relationwith what surrounds us.”(Gaudenzi, 2012:31-32)
  38. 38. Definition“The webdocumentary is a form of documentaryconceived specifically for the web and broadcast online.It’s navigable and interactive, and is usually characterizedby non-linear narrative, a specialized script, and multi-media content. The webdocumentary is thus distinct fromonline journalism and short multi-media works; it’s a formwhich presupposes that filmmaker’s “point ofview.”(Documentary Network, 2011:17)
  39. 39. Personal DefinitionInteractive movies and/or applications, carried out with theintention of representing reality with their ownmechanisms, which we will call navigation and interactionmodalities, depending on the grade of participation that isrequired.The interactive documentaries try to document, represent andinteract with the reality, for which a series of techniques ormethods must be considered and used (navigation andinteraction modalities), which become, in this new way ofcommunication, the key element to achieve the documentaryobjectives.
  40. 40. DefinitionThis is an emerging genre, which is in part virgin territory,awaiting exploration and delimitation, the result of adouble hybridisation: between audiovisuals - thedocumentary - and interaction - digital interactive media -and between information - content - and entertainment -navigable interfaces.Interactive documentaries create a new logic for therepresentation of reality. The emphasis of this new logiclies in the relationship between text and interactor whennavigating and interacting, rather than how the authorconstructs a specific discourse about reality for traditionalviewers. This new discourse is constructed through themethods of navigation and interaction rather than as
  41. 41. 8. MODALITIES
  42. 42. One of the basic premises of this work is to establish adistinction between three main categories: representation,navigation and interaction.Modes of representation show the attitude or point of viewof the director to the world filmed, and this results in aspecific discourse given a particular form according toestablished conventions. Examples of these modes areexpository, poetic, reflective, interactive, observational andperformative.Modalities of navigation, interaction and representation
  43. 43. Modes of navigation facilitate different ways of browsing orpenetrating into the reality and taken together a multimodalnon-linear deployment that does not exist in the modes ofrepresentation. Examples of navigation modes: temporal,spatial, witnessing, narrative branching, etc..Modes of interaction go a step further and propose ascenario in which the recipient becomes in a sense anemitter: they may leave a mark or trace of their passagethrough the work. Examples of this are the modalities ofinteraction in generative or 2.0 applications.
  44. 44. MODALITIES SUB MODALITIESDIVIDED NAVIGATION MODE THEMES, CHAPTERS, SEQUENCES, STORIES,TOPICSTIME NAVIGATION MODE CENTURIES, DECADES, YEARS, MONTHS,DAYS, DATES, EVENTS, PERIODSSPATIAL NAVIGATION MODE GEOGRAPHICAL MAP, GRAPHICAL MAP,VISUAL MAP, STADISTIC MAP,PHOTOGRAPHIC MAPTESTIMONIAL NAVIGATION MODE AUDIO/VIDEO (CHARACTERS)AUDIO/VIDEO (INTERVIEWED)BRANCHED NAVIGATION MODE CHOOSE OPTION TO PROGRESSLIST OF MODES OF NAVIGATIONProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of Vic
  45. 45. MODALITIES SUB MODALITIESHIPERTEXTUAL NAVIGATION MODE HIPERTEXTUAL SCHEMEPREFERENCIAL NAVIGATION MODE DRAG MEDIA, ADDITION AND SUPRESSIONBUTTONSAUDIOVISUAL NAVIGATION MODE AUDIO/VIDEO, VIDEO/ANIMATION,AUDIO/VIDEO/ANIMATION,AUDIO/PHOTOGRAPHYSOUND NAVIGATION MODE AUDIO, MUSICIMMERSIVE/SIMULATED NAVIGATIONMODESIMULATIONS, INTERACTIVE GAMELIST OF MODES OF NAVIGATIONProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of Vic
  46. 46. MODALITIES SUB MODALITIESGENERATIVE INTERACTION MODE ADD CONTENT TO THE SYSTEM2.0 APLICATIONS INTERACTIVE MODE 2.0 APLICATIONS CONNECTIONThe following table shows the different digital interaction types and their sub-modalities:LIST OF MODES OF INTERACTIONProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of Vic
  47. 47. 9. FEATURES
  48. 48. FEATURESWe considered appropriate to group the main defining features thatcharacterize the interactive documentary, based on the triple definitionprovided by Nichols (1991). In this new scenario, we replace the figures:- The director (which is most associated with the audiovisual and filmgenre) to author (because the concept of authorship is one of the majorissues in the problems to be resolved);- The text (deemed to be a script and a linear audiovisual discourse) for theterm narrative or discourse (non-linear or multilinear interactive)- The concept of the spectator (passive audiovisual) for that of the interactor(with active, contributory and generative attributes).Director/producer = AuthorText = Narrative/DiscourseSpectator = Interactor (User)Proposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of Vic
  49. 49. CHARACTERISTICS1. Characteristics from the viewpoint of the author(broadcaster) :1.a. The directors loss of control and regeneration of the system1.b. The authors role of assistance
  50. 50. CHARACTERISTICS2. Characteristics from the point of view of the discourse or narrative (text)2.a. Varied terminology to refer to similar projects2.b. Educational and documentary interactive multimedia applications2.c. Format types associated with nonfiction genres2.d. Documentation of a specific reality2.e. Hypertext, nodes and links2.f. Nodal and branched scheme of the narrative discourse2.h. Non-linear narrativeProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of Vic
  51. 51. 3. CHARACTERISTICS3. Characteristics from the point of view of the interactor (reception)3.a. Online and offline reception3.b. Interaction-based decision making for progressing (modes of navigation)and relating to others (modes of interaction)3.c. New receivers making up a new type of audience3.d. Open and generative system: a living system that adapts to anenvironment3.e. The viewers status changes: he is an active user-interactor-participant-contributorProposed use of the interactive documentary in the field of education: half-way between learning andentertainment. Case studies developed at the University of Vic
  52. 52. 10. CASE STUDY PRODUCTION
  53. 53. Case studies developed at the University of VicEN UN XIP MULTICOLOR / MODALITIESTHE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARYEN UN XIP MULTICOLOR / SCHEME
  54. 54. Case studies developed at the University of VicEN UN XIP MULTICOLOR / HOMETHE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  55. 55. Case studies developed at the University of VicEN UN XIP MULTICOLOR / DOCUMENTARYTHE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  56. 56. Case studies developed at the University of VicEN UN XIP MULTICOLOR / INTERACTIVE SPACETHE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  57. 57. Case studies developed at the University of VicEN UN XIP MULTICOLOR / GALLERY (INTERACTIVE-SPACE)THE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  58. 58. Case studies developed at the University of VicEN UN XIP MULTICOLOR / PLAYLISTTHE INERACTIVE NONFICTION AS 2.0 EDUCATIONAL STRATEGYTHE CASE OF THE INTERACTIVE DOCUMENTARY
  59. 59. Arnau Gifreu Castells (PhD)UOC – Universitat Oberta de CatalunyaFEC – Universitat de VicOpen Documentary Lab (MIT)i-docs.orgUvic_labContact: agifreu@gmail.comPersonal website: www.agifreu.comProjects network: www.arnaugifreu.netTHANKS!

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