The mapping of theories and practices has really helped with me with establishing an initial research area – Narrative (within digital media), Time & Soft Cinema. So the next step is to find relationships and arguments within the current practical and theoretical knowledge on the topic. The following selection of references will act as a starting point for my literature review.

SOFT CINEMA: Navigating the Database
Lev Manovich and Andreas Kratky
‘Soft Cinema project mines the creative possibilities at the intersection of software culture, cinema, and architecture. It investigates how the new representational techniques of soft(ware) cinema can be deployed to address the new dimensions of our time, such as the effects of information technologies on subjectivity. At the heart of the project is custom software and media databases. The software edits movies in real time by choosing the elements from the database using the systems of rules. It decides what appears on the screen, where, and in which sequence’ (Manovich and Kratky, 2005).

Remixing and Remixability
Lev Manovich
‘Will the separation between libraries of samples and “authentic” cultural works blur in the future? Will the future cultural forms be deliberately made from discrete samples designed to be copied and incorporated into other projects? It is interesting to imagine a cultural ecology where all kinds of cultural objects regardless of the medium or material are made from Lego- like building blocks’ (Manovich, 2005).

LISA Conference 2012
Kurt Ralsk
‘Cultural artifacts – books, photographs, cinema – all these thing in their digital form have become dematerialised – they no longer take up space. At the same time they become detemporalised – they’re freed from time. They’ve become pure data. They’ve become an abstraction. They almost don’t even exist – they have no mass and no duration’ (softwareandart, 2012).

Divide By Zero
Hellicar&Lewis
‘Divide By Zero was an interactive dance performance… using computer vision. …Software enabled the body silhouette of the dancer to be captured in realtime and art directed visuals generated in response – no pre-rendered video was used in any way’ (Hellicar&Lewis, 2010).

iAm – Experimental generative shorts
Quelic Berga Carreras
‘This project intends to reflect on the possibilities of generating automated, pseudo-aleatory cuts of a 25 second short-film. The director’s cut becomes a software’s cut created, by a viewer’s demand, as a unique random instance of the potential combinations of the short’ (Berga & Minguillón, 2013).

Sleep No More
Sleep No More, interactive work of theatre that ‘tells Shakespeare’s classic tragedy Macbeth through a darkly cinematic lens. …Audiences move freely through the epic story of Macbeth, creating their own journeys through a film noir world’ (Punchdrunk, 2011).