chat

"StoryFace" is a digital fiction based on the capture and recognition of facial emotions.

The user logs onto a dating website. He/she is asked to display, in front of the webcam, the emotion that seems to characterize him/her the best. After this the website proposes profiles of partners. The user can choose one and exchange with a fictional partner. The user is now expected to focus on the content of messages. However, the user's facial expressions continue to be tracked and analyzed… 

What is highlighted here is the tendency of emotion recognition devices to normalize emotions. Which emotion does the device expect? We go from the measurement of emotions to the standardization of emotions. 

StoryFace was re-published in The New River in 2018.

One of the first works of interactive fiction made by a female designer, La femme qui ne supportait pas les ordinateurs is an examination of sexual harassments in cyberculture. The game, written by Chine Lanzmann and coded by Jean-Louis Le Breton, allows the player to impersonate a woman who has to face numerous seducers. Interestingly, one of the sexual predators is a computer. The game is stylized upon a chat on Minitel, where the player is asked several questions. She can type only two answers: "yes" or "no", which influence the outcome of the game. However, the more the player becomes involved in the simulated chat, the lesser the chance to avoid one of the six endings, all of them negative.

Limerence is the private blog of Clarice Mahon. Huge part of the blogposts evolves around how she feels about her boyfriend and how their relationship changes.

Cloe is a final academic project from Universidad de Navarra, it is a digital well-narrated story, it uses a contemporaneous interface that combines texts, chat sessions, email simulations, images and intimate reflections while it tells the depression of an adolescence that, little by little, is able to get out of herself. The story deepens into the psychological portrait of the characters, a loneliness within the great city, with a background of dark colors of melancholic sadness.

[the perpetual bed] is an online, virtual VRML world in which users can interact with each other from within a navigable, surrealistic narrative. A hybrid between video, interactive art, installation, and animation, the piece is based on my own and my grandmother's experiences within transparent yet tangible beings and places discovered when hospitalized. My creative concerns in creating this piece are numerous, but I am trying to create a new media from the temporal and motion imaging elements of film and video, the accessibility of the internet, the user-centered narrative form from interactive art, and elements of choreography. The interaction will take place through a technology I have designed called Navigable Chat. Users can percieve each other through their textual presence. My goal is to tell a story in an altogether new way -- that of allowing the user to move through a story, to "happen" upon a scene, and to find their own meaning in this ever-enacted place. Users can then leave their mark and become part of the story--leave hints, impressions, etc--for the next viewer.

make-shift is a house party, performance, and networked salon. Each live event telematically connects participants in two ordinary houses and an online performance space, using the cyberformance platform UpStage (www.upstage.org.nz) in conjunction with audio-visual streams from the two houses. The theme of the work centers around consumption and disposal in late capitalism. Crutchlow and Jamieson describe themselves as "brokers" of the event, combining scripted performance with improvisation and activities in which everyone participates in various ways, becoming co-authors in a collaborative process.