Where the iPhone becomes a wePhone
Where the video recording is replaced by the walk recording
Where the film becomes a floating and interactive experience
Where the publication of successive walks makes visible a moving city of images.
It is important to notice following things when watching a movie:
- The editing engine is not yet completely working, we are still working on it ;
- The actual logic of editing is mainly based on vicinity (the nearest media file to your actual position); the relation of speed of the walk / length of the media file; the narrative continuity based on a thematic continuity is not yet completely implemented (only partly working).
While stepping through the city, the walker will be able to see a visualitzation of the editing process: the choosen media (on the left, as the past), the actual media that is streamed and can be heard through an audio stream on the earphone (the middle bar, as the present) and on the right the media files that exist in the future and that could perhaps “slip” into your movie…
Editing is basically filtering content out of a database: you assemble a chosen content in a specific way with particular rules to tell a story, to deliver information. If we look only at the formal aspect, the important thing is to use a filtering logic that is easily understandable by the user / spectator. Our hypothesis is: if the user creates the filtering logic he will understand and accept the combination of documents he / she will get; but this creation has to be very simple, intuitive and playful. So we thought to translate the form of a path into the form of an editing logic: the way you walk will be translated in real time into the form of the document stream you get out of the geo-localized database…
We normally experience films like a flow, a continuity that passes leaving no traces other than sensorial or intellectual ones. Within the context of this project, the result is the translation of a geometric form (the trajectory) onto a basis of media: visitors do generate a narrative flux in the form of a film which they can watch, but this film can still be manipulated as an object and is linked to a set of data (trajectory, metadata) and of representations of these (mappings, iconographies, etc). One has to walk to generate, touch the iPhone to watch the process taking place, to manipulate the film-object: the more the spectators involve themselves physically and emotionally, the better the experience will be.