DE RIVE EN RIVE (Deriva’s shore) – 2005. Interactive video.
Final project for the master in Digital Art, Universidad Pompeu Fabra /Barcelona


De Rive en Rive is the story of a girl’s drifting from one place to another, in urban and natural environments and passing through different emotional states. She is also being persecuted but it’s not clear if this person exists or is fruit of her imagination.
The series of emotional states which the protagonist goes through are the real narrative thread of story.

Build the girl’s story en real-time and discover through her journey, a metaphor of an inner trip through different area of the protagonist’s psyche.

The interactive video was built in Flash.

Click here to experience it.

Presented at:
– Festival international de la imagen, Muestra media art III
Special Mention in interactive category – Manizales/Colombia, 2007
– Muestra de arte digital, Caixa forum – Barcelona, 2006
– 5a Mostra sonora y visual – Convent San Agusti, Barcelona, 2006
– Thesis – master in Digital Arts, Universidad Pompeu Fabra – Barcelona/Spain – 2006

(presentation entera en español despues del ingles)

“De Rive en Rive” is an interactive video. It’s a non-linear and circular narration, composed of 45 short sequences. In every sequence, there are moments where the user can click in order to accede to an other sequence, constructing in real time, an open structured story. The end is determine by the user himself.

2. Argument and central metaphor
The interactive movie tell the story of a girl’s trip through different urban and natural
environments. The protagonist goes from one place to another, without any particular
purpose. At certain moment the young person is persecuted by another person. It’s not
clear if this person exists or is fruit of the imagination of the girl. The series of emotional
states which the protagonist goes through are the authentic narrative thread of story.
The “dérive”, literally means «the drift» used in the sense given by the situationists, works here as a metaphor of an inner trip based on the knowledge of oneself in search of a
better understanding of the outer world. The outer landscapes that the protagonist crosses
are a representation of her inner landscape. Each environments have a precise
symbolism, describing a different level of the psyche. With her dérive the girl go through
the different areas of her psyche.
The life is experienced as a linear development, in the present of the consciousness.
Nevertheless, the relations that links experiences in the memory are emotional and nonlinear.
The present at the level of the consciousness, it’s a simultaneity between the
reality that is lived and what the memory and the emotions evoke like immediate answer.
The interactive film attempts to represent this mechanism, allowing a control on the
development of the action, based on emotional parameters.

3. Conceptual base and relation with the project

3.1 Situationism, dérive and psychogeography
The dérive as “a technique of rapid passage through varied ambiances” (Guy Debord)
convert itself in the concept or in the narrative skeleton of story. Also, the lack of
objectives, beginning or precise end in the story convert the navigation into a dérive of an
another level. With the lack of objectives, the curiosity of the player turns his participation
into a “ludico-constructive behaviour” (Debord), notion that is also related it to the dérive’s concept.

The space in which story is developed is constructed like a “dynamic labyrinth” (Constant), a place without hierarchy and multi-centered. The narration does not have scenes more significant than others, all have the same value and it only depends on the user’s whim, who navigate guiding himself by “psycho-geographic” parameters: random relations between environments and a series of emotions: “vecteurs de désirs” or emotional vectors. The “plaque tournante” is an important concept in the “theory of the dérive”. It’s a place of superposition of possibilities in the spatial, social and emotional movement, which coincide in term of urbanism with a superposition of uses, infrastructural connections and possibilities of encounter between people. The points in the narration in which story can bifurcate to another sequence are the “plaque tournante” of the narration.

3.2 Jungian psychology
The “individuation” is the process in which the individual who’s already established socially goes through different stages of self awareness, solving the conflicts between the social prefabricated I (“person”) and primary I. The protagonist of the video, exploring the zones of her psyche symbolized by the different environments that she’s crossing and affronting,is into in a continuous process of individuation, freeing herself of her “person” as she passes through different states of awareness or acceptance from her real I.
The “shadow”, an archetype representing the side of oneself that each person tries to
ignore, is represented through the images by the character who’s persecuting the girl and
by visual treatments in which the image of the protagonist is doubled establishing the
ambiguity between I and the other that contains the archetype. The girl avoids the
confrontation in most of the sequences, obtaining in a few (and not always by own will) to
face her pursuer.

3.3 Symbolism
In a personal reinterpretation of Jungians categories, each environment symbolize an area
of human psyche.

The forest
The forest represents the past, the conscious and the unconscious memory. It can be as
well a mysterious and distressing world as an attractive and calm place. The fear of the
forest is the fear of the true identity. It is the legendary habitat of supernatural personages.
Exploring the forest allows to confront to ones fears, recovering the calm and the balance
with the nature.

The burned forest
The burned forest is the burned past, the past that we tried to forget by the symbolic
cleaning by the fire. Under the burned ground, the life recovers forces. The green
branches and the yellow needles, already fallen represent the continuity of life and of
memory. The signification of this forest is the pursuit of what we want to forget, and what
we don’t want to see. It’s the fighting place against oneself, against the voluntary
forgetfulness. The forest is, after the confrontation, a place to find serenity again.

The deep forest
The deep forest is the symbol of the primary unconsciousness, of the most basic
impulses. The heart of the forest, is the least accessible and densest part. Going until the
deepest part of the forest signifies to reach the depth of the unconsciousness. It is a place
without fear, full of tranquillity. The river is the guide who brings the spectator to the deep

The mountain
The mountain represents the future. Climbing it is reaching the ideal, the knowledge of
oneself. It’s an austere world in which the individual learns to know his limits.

The water
The water is the present, the bond between the past and the future. Omnipresent element
that cannot be controlled or caught. The water is the sea, the river, the lake, the rain. It’s
the source of life, regenerative, purifying, simultaneously constructive and destructive. It
represents the cycle of life.

The island
The island is a world on itself. It contains the forest, the mountain and the water. Arriving
by boat and travelling on the present (the water). The island is the centre of one’s origin,
the place of resurrection.

The desert
Synonymous of dryness, to cross the desert symbolizes going to the essence
of the person. It’s a place to face the loneliness and the feeling of being lost. It is a place
where the individual discovers his capacity of adaptation and survival.

The house
The house is the centre of the existence. Exploring its rooms is exploring the different
parts from the unconsciousness.

The door
The door has a mysterious dimension. It’s the border, the threshold, the access to another

The city
The city, with its labyrinth of streets, represents the labyrinth of the unconsciousness. It’s
also possible to interpret it as a metaphor of the nature: the skyscrapers are the
mountains; the streets, the rivers; the park, the forest; the parking, the cave or the deep

3.4 Explication of the title
I decided to entitle the project ” De rive in rive “, a play on words that means in French as
well “from shore to shore” as “dérive to the shore”, mixing the situationist meaning of the dérive with one more generic to cross a river, with its meaning confrontation with the

4. Structure
An emotional superstructure organize the possibilities between the sequences. The
emotional states are divided in four groups, generically titled: the peace, the crisis, the
confrontation and the flight. The peace is synonymous of tranquillity, of serenity. The
crisis, of rupture, of changes. The confrontation, of disturbance, of reaction. Finally the
flight is synonymous of pursuit. These four concepts summarize the emotional states
which an individual goes throughout his life.
The general structure of “De rive en rive” is based on the 4 states scheme. This scheme
administers, on one hand the navigation from a sequence to another and on the other
hand, the order of the succession of the scenes in the montage of the sequences
following this logic rigorously. Every sequences contain between one and four states.

4.1 The 4 states scheme
The scheme is formed by 4 emotional states: The peace, the crisis, the confrontation and
the flight. Each state is connected to the others according to a logic coming from the
observation of the emotions. The crisis is the key, all states pass by it. It’s a necessary
state to go through in order to reach another state. To arrive at the peace, it’s necessary
go through the confrontation. Each state can lead as well to itself.


4.2 Construction
The video is formed by 43 sequences, of a duration, varying between 14 seconds and
around a minute and of 11 transition’s scenes. The transition’s scenes, serve to connect
two sequences to each other, in a way that the cut is less brutal. Its duration varies
between the 8 and 12 seconds.
In the navigation, every sequence has between 2 and 4 links, or « rupture points », that
lead to another sequence. The order of sucession of the sequences always respects the
scheme of the 4 states. The sequences always start at the beginning of it.
For the sequences that begin by a state of the peace the possible following state will be:
the peace or the crisis.
For the sequences that begin by a state of the confrontation the possibilities will be: the
flight , the peace or the confrontation.
For the sequences that begin by a state of the crisis, the possibilities will be: the flight, the
confrontation or the crisis.
For the sequences that begin by a state of the flight, the possibilities will be: the
confrontation, the crisis or the flight.

4.3 Representation of the emotional states
At a narrative level, the states are transmitted by very different types of scenes. These
states can also be recognized by their visual treatment.
The peace is represented by scenes of celebration, food, rest, death, boredom and
dream. It’s suggested by the blue sky, rain, pleasant things as well as perceptions a slow
and regular rate.
The crisis is represented by scenes of surprise, discovery, confusion, fall, change,
disorientation. The video montage, is faster and has abrupt changes.
The confrontation is perceived by scenes of fight, conflict, passage from one side to
another crossings and shock. Symbolically it is represented, among other things, by the
window, the mirror, and the door.
The flight is represented by pursuit and race scenes.
The scenes of flight and confrontation are represented in a more descriptive and less
subjective way than the other two.
The scenes of transitions are of more abstract representation. It’s shown through a detail,
a color, a texture, or in a more poetic way.

5. Post-production
5.1 Sound
The sound reinforces the image in its message and the emotions that wants to be
transmitted. The link between the image and the sound is sufficiently strong so that this
audiovisual work does not include dialogues, or voice off.
The soundtrack was made according to the concept of electro-acoustic music. It is a
mixture of sound coming from different sources. The first source is the sound registered
directly with the camera during the shooting. The montage of the images was done with
the sound and giving a basic soundtrack. After cleaning and selection to eliminate the
voices, this last one served as background sound.
The second source comes from sounds cut in the initial recording. They’re used to
reinforce a same sound or to repeat it in the same sequences that its origin. The third
source is these same sounds, but transformed using spectral effects, filters (granulation,
delay, reverb, echo, inverse, phaser, etc…) and also when changing the time rate and the
duration. These acousmatics sounds were used in all the sequences without considering
their original property. The granulated sounds served to create a strange atmosphere,
giving a feeling of fear, presence of supernatural beings, wind, etc.
The last source groups samples of beat, guitar, synthesizer, and other instruments. The
samples were used such as or modified using the same methods that for the other
A musical composition was create for every sequence and each scene of transition. The
four emotional states can be found in the compositions.
The peace state is formed by regular, continuous sounds and in general deep. There isn’t
any changes of tempo. It doesn’t have many variations either. The crisis state is made up
of many sonorous variations, acute dissonances and many sounds. The confrontation
state also this composing of abrupt changes and high-pitched sounds to increase the
tension. The flight state is compound with a tempo that gives a sensation of movement.
The synchronization points are placed at key moments with the purpose of reinforcing the
attention of the user and also to maintain a coherence between the sound and the image.
An effect of sonorous spacialisation was made playing with the volume and the panning.

5.2 Image
The montage of the images was done with final cut. In order to treat the aesthetic aspect,most of the time I have superposed two layers for following reasons, to reinforce visually the emotional states and to improve the color.
In the second layer, I used different options from the methods of compositing
(superposition, crude light, filtered light, addition) depending of the desired effect. The layers shifted sometimes slightly on timeline with the purpose of giving an effect of doubling of the image, the sensation of movement, crisis, altered perception of the reality, or sensation of irreality.For the improvement of the quality of the image, I adjusted the levels and the contrast. In some occasions, I used effects (strobe, mirror), generally, the effects were little used in order to keep an realistic type aesthetic. The icons were done in flash and exported in a quicktime format with the purpose of placing them directly on the timeline.

6. Interactivity, interaction, programation, support

6.1 Interactivity
The interactivity in this project stays minimal, the user has only one way to interact with
the story; clicking on the mouse. The interaction system is easy to understand and to use.
The utilisation of a mouse is common. The interactivity approaches itself to the zapping.
Interactivity plays a role in the construction of the narration, allowing for variation
depending of the moment that the user clicks. Numerous possibilities exist in the
succession of the sequences, allowing the user to explore the possibilities during a certain

6.2 Interface
The interface has 2 buttons: a button “end”, which allows the user to finish the story when
ever he wants with the apparition of the credits indicating the end like in all traditional
films and a button “start”, allowing the user to return to the beginning with the title.
The presence of the icon called «rupture point» serves as an indication for the user,
telling him when he can click in order to change sequences. The active zone is all the
dimension of the screen. The «rupture point» appears during one second in the bottom
right side of the screen. Once it appears, the zone stay active during 3 to 4 seconds. If
the user doesn’t click, the sequence repeats itself.

6.3 Programming
The programming was done in flash 8. The methods of the cue points was used to tag the
videos files and them the files were converted in flv files.

6.4 Support
It’s a on-line and off-line project. It can be see at this following address:

7. Technical requirements
material: a computer, a mouse, a screen or a projector
2 loudspeakers, a mixing table
sound: the soundtrack is in stereo
software: flash player
to start: open the file derive.swf

the girl: Laurie Bender
her shadow: Baptiste Broillet
Julio Bembibre

with the participation of:
Alberto Ajaudo
Ayla Bender
Elisa Fleury
Noé Fleury

Julio Bembibre
Laurie Bender
Baptiste Broillet
Version española

“De Rive en Rive” es un video interactivo. Es una narración no-lineal y circular,
compuesta de unas cincuenta secuencias cortas. En cada secuencia, hay
momentos en los que el usuario puede clicar para acceder a otra(s) secuencia(s),
construyendo, en tiempo real, una historia de desarrollo abierto y cuyo final
determina el usuario.

2. Argumento y metáfora central
La película interactiva relata el viaje de una chica a través de diferentes entornos
urbanos y naturales. La protagonista va de un lugar a otro, en principio sin ninguna
finalidad. En cierto momento la joven es perseguida por otra persona, no quedando
claro si esta persona existe o es fruto de la imaginación de la chica. La serie de
estados de animo por los que la protagonista pasará será el auténtico hilo narrativo
de la historia.

La deriva (en el sentido que le daban los situacionistas) funciona aquí como una
metáfora de un viaje interior, el que se basa en el conocimiento de uno mismo como
medio para lograr una comprensión mejor del mundo exterior. Los paisajes
exteriores que atraviesa la protagonista son una representación de su paisaje
interior. Cada entorno posee una simbología precisa, describiendo un nivel distinto
del la psyché.

Con su deriva la chica atraviesa las distintas áreas de su psique.
La vida se experimenta como un desarrollo lineal, en el presente de la conciencia.
Sin embargo, las relaciones entre secuencias vividas archivadas en la memoria son
emocionales, no – lineales, lo cual determina el presente de la conciencia, al ser
esta una simultaneidad entre la realidad que se vive y lo que la memoria y las
emociones evocan como respuesta inmediata. La película interactiva intenta de
alguna manera representar este mecanismo, permitiendo un control sobre el
desarrollo de la acción, en función de parámetros emocionales.

3.Base conceptual y relación con el proyecto

3.1 Situacionismo, deriva y psicogeografía
La deriva como “transito fugaz a través de ambientes cambiantes” (Debord) se
convierte en el concepto o esqueleto narrativo de la historia. Asimismo, la falta de
objetivos, principio o fin precisos en la historia convierten el navegar por ella en una
deriva a otro nivel. La falta de objetivos más allá de los que pueda aportar la
curiosidad del jugador ante el paisaje emocional que observa convierte su consumo
en un “comportamiento ludico-constructivo” (Debord) que tambien lo emparentan
con el concepto de deriva.

El espacio en el que se desarrolla la historia está construido como un “labyrinthe
dynamique” (Constant), un espacio sin jerarquía, multi-centrico. La narración no
tiene escenas más significativas que otras, todas tienen el mismo valor y la
secuencia solo depende del capricho del usuario, que navega guiándose por
parámetros “psico-geográficos”: relaciones aleatorias entre unos entornos y una
serie de emociones: “vecteurs de désirs” o vectores emocionales.

En la “teoría de la deriva” es importante el concepto de la “plaque tournante” como
lugar de superposición de posibilidades de movimiento espacial, social y emocional,
coincidentes urbanísticamente con una superposición de usos, conexiones
infraestructurales y posibilidades de encuentros entre personas. Los puntos de la
narración en los que la historia puede pasar a otra secuencia son las “plaques
tournantes” de la narración.

3.2 Psicología jungiana
La “individuación” como proceso en el que el individuo ya establecido socialmente
va pasando por diferentes etapas de concienciación de si mismo, resolviendo los
conflictos entre el yo prefabricado social (“persona”) y el yo primigenio. La
protagonista del video, explorando las zonas de su psique simbolizadas por los
diferentes entornos que atraviesa y confronta, está sumida en un proceso de
individuación contínuo, liberándose de su “persona” a medida que pasa por
diferentes estados de concienciación o aceptación de su yo real.

La “sombra”, un arquetipo representando el lado de si misma que cada persona
intenta ignorar está representado en las imágenes por el personaje que persigue a
la joven y por tratamientos que desdoblan la imagen de la protagonista,
estableciendo la ambigüedad entre el yo y el otro que contiene el arquetipo. La
chica rehuye la confrontación en la mayoría de las secuencias, consiguiendo solo
en algunas (y no siempre por voluntad propia) enfrentarse a su perseguidor.

3.3 Symbolismo
Cada entorno simboliza un área de la psique humana, en una reelaboración
personal de categorías jungianas.

El bosque
Representa el pasado, la memoria consciente e inconsciente. Puede ser tanto un
mundo misterioso y angustioso como un lugar atractivo y sereno. El miedo al
bosque es el miedo a la verdadera identidad. Es el habitat legendario de personajes
sobrenaturales. Explorar el bosque permite afrontar tus miedos, recuperar la calma
y el equilibrio con la naturaleza.

El bosque quemado
El bosque quemado es el pasado quemado, el pasado que intentamos olvidar por la
limpieza simbólica que supone el fuego. Bajo el suelo quemado, la vida recobra
fuerzas. Las ramas verdes y las agujas amarillas, ya caídas representan la
continuidad de la vida y de la memoria. El sentido de este bosque es la persecución
de lo que queremos olvidar, de lo que no queremos ver. El lugar del combate contra
uno mismo, contra el olvido voluntario. Tras la confrontación, el bosque es un lugar
para reencontrar la serenidad.

El bosque profundo
Es el símbolo del inconsciente primario, los impulsos más básicos. El corazón del
bosque, la parte menos accesible y la más densa. Ir hasta lo más profundo del
bosque representa llegar hasta el fondo del inconsciente. Es un lugar sin miedo,
lleno de tranquilidad. El rio es la guía que lleva al espectador hacia el bosque

La montaña
La montaña representa el futuro. Escalarla es realizar el ideal, el conocimiento de
uno mismo. Un mundo austero en el que el individuo aprende a conocer sus limites.

El agua
El agua es el presente, el vínculo entre pasado y futuro. Elemento omnipresente
que no se puede controlar o atrapar. El agua es el mar, el río, el lago, la lluvia. La
fuente de la vida, regenerativa purificadora, a la vez constructiva y destructiva.
Representa el ciclo de la vida.

La isla
La isla es un mundo en sí. Contiene el bosque, la montaña y el agua. Se llega en
barco, viajando por el presente (el agua). La isla es el centro u origen, lugar de

El desierto
Sinónimo de aridez, atravesarlo simboliza ir a la esencia de la persona. Es un lugar
para enfrentarse a la soledad y al sentimiento de pérdida. Un lugar donde el
individuo descubre su capacidad de adaptación y supervivencia.

La casa
La casa es el centro de la existencia. Explorar sus habitaciones es explorar las
distintas partes del inconsciente.

La puerta
La puerta posee una dimension misteriosa. Es la frontera, el umbral, el acceso a
otra dimension.

La ciudad
La ciudad, con su laberinto de calles, representa el laberinto del inconsciente.
También se puede interpretar como una metáfora de la naturaleza: los rascacielos,
montañas; las calles, los ríos; los parques, el bosque, los aparcamientos
subterráneos, las cuevas o el bosque profundo.

4. Estructura
Una superestructura emocional ordena las posibles secuencias.
Los estados emocionales, son dividido en cuatro grupos, titulados genéricamente:
la paz, la crisis, la confrontación y la huida. La paz es sinónimo de tranquilidad, de
serenidad. La crisis, de ruptura, de cambio. La confrontación, de perturbación, de
reacción. Por último la huida es sinónimo de persecución.
Estos cuatro conceptos resumen los estados por los que pasa un individuo a lo
largo de su vida.

La estructura general de “De rive en rive” apoya sobre el esquema de los 4 estados.
Este esquema administra por una parte la navegación de una secuencia a otra y por
otra parte, la organización de la sucesión de las escenas en el montaje de las
secuencias sigue rigurosamente esta lógica. Cada secuencias contienen entre uno
y cuatro estados.

El esquema está formado por 4 estados emocionales: la paz, la crisis, la
confrontación y la huida. Cada estado se conecta a los otros según una lógica que
viene de la observación de las emociones. La crisis es el estado-clave, todos pasan
por ella. Es un estado necesario para ir hacia otro estado. Para llegar a la paz, es
necesario pasar por la confrontación. Cada estado puede producir una prolongación
de si mismo.


4.1 Construcción
El vídeo está formado por 43 secuencias, de una duración, variando entre 14
segundos y unos minutos y de 11 escenas de transición.
En la navegación, cada secuencia posee entre 2 y 4 vínculos, o puntos de ruptura,
que conducen hacia otras secuencias. El orden de sucesión respeta el esquema de
los 4 estados. Las secuencias comienzan siempre al principio.

4.2 Representación de los estados
A nivel narrativo, los estados están transmitidos a través de escenas de tipos muy
diferentes. Estos estados pueden ser reconocidos también por su tratamiento visual
y sonoro.

La paz está representada por escenas de fiesta, comida, descanso, muerte,
aburrimiento y ensueño. Esta sugerida por el cielo azul, la lluvia, las cosas
agradables. Se percibe por un ritmo lento y regular. La paz está formada por
sonidos, regulares, continuos y en general graves. No hay cambio de tempo. No
tiene muchas variaciones.

La crisis está representada por escenas de sorpresa, descubrimiento, confusión,
caída, cambio, desorientación. El montaje, es mas rápido, tiene cambios bruscos.
Al nivel sonoro, la crisis se compone con muchas variaciones sonoras, con
dissonancias y muchos sonidos agudos.

La confrontación es percibida por escenas de pelea, conflicto, pasaje de un lado a
otro, de cruces, de choque. Simbólicamente está representada, entre otros, por la
ventana, el espejo, la puerta. La composición sonora esta compuesta de cambios
bruscos y de sonidos agudos para aumentar la tensión.

La huida está representada por escenas de carrera y de persecución. Un tempo
dando la sensación de movimiento compone la base sonora.

Las escenas de confrontación y huida están representadas de manera
más descriptiva y menos subjetivas que las otras dos.

Las escenas de transiciones son de representación más abstracta, a través de
un detalle, un color o de una materia, o sea de manera más poética.

5. Explicación del título
Decidí titular el proyecto « De rive en rive », un juego de palabras que en francés
significa tanto “de ribera en ribera” como “deriva en la ribera”, mezclando pués, el
significado situacionista de derivar con uno más generico de atravesar un río, con
su significado de confrontación con el presente.

6. Commentarios
« De rive en rive » era presentado como proyecto final del master en arte
digitales de la universitad Pompeu Fabra en diciembre 2005.
Se puede también ver la misma version on-line

Datos tecnicos
se requiere: flash player
un ordenador, un raton, una pantalla (el fichero flash es de tamaño 1024×768, pero eso se puede cambiar) o un proyector
Sonido en steréo
2 altavoces o cascos

7. Como functiona
En cada secuencia, hay 2 hasta 4 momentos, donde puedes clicar para acceder a
otra secuencia y construir, en tiempo real, una historia de desarrollo abierto.
Es señalizado por un icono que aparece a la derecha abajo de la pantalla.
Desde la aparición del icono, tienes de 3 a 4 segundos para clicar. La zona activa
es todo el vidéo.
Si no clicas, la sequencia vuelve a repetirse.
Determinas el final de la historia apretando el button “créditos”
Volves al inicio apretando el button “volver a empezar”


la chica: Laurie Bender
su sombra: Baptiste Broillet
Julio Bembibre

con la participación de:
Alberto Ajaudo
Ayla Bender
Elisa Fleury
Noé Fleury

Julio Bembibre
Laurie Bender
Baptiste Broillet

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