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Emotive VR Cinema prototype
and its neuro-emotive 360 VR film, "Freud's Last Hypnosis". (2017-2025)
European project
Emotive VR Cinema prototype
and its neuro-emotive 360 VR film, "Freud's Last Hypnosis". (2017-2025)
European project
Trailer of the film "Freud's Last Hypnosis" :
https://vimeopro.com/curiosite/marie-laure-cazin/video/347465022
Art science project presentation :
https://vimeopro.com/curiosite/marie-laure-cazin/video/321976983
Composer's presentation : https://matiasharju.com/projects/emotive_vr/emotive_vr.html
The pilot flm
In « Freud's Last Hypnosis », Sigmund Freud uses hypnosis in order to cure his patient Karl. But along the session, Karl's neurosis seems to be very disturbing for Freud.The viewer will be able to understand the whole scenario and Freud's behaviour only after having seen the two subjective points of view.
Art-science project intention :
The project combines a VR headset together with a EEG headset, in order to analyse the emotional data of the viewer to interact with the film in real time.
The author is interested in exploring the kind of immersion and engagement the viewer experiences with an embodied character. The embodiment is led one step further in this project, where the emotional state of the viewer changes the perception of the character. In this situation, the musical theme of the character, expressing his own feelings, is changed in real time by « fusing » the feelings of the viewer's emotional state together with the character's one. The subjective perception of the character is also changed by the viewer's emotions in creating some visual effects in the scene.
Neuro-interactive music
Matias Harju has composed two musical themes, one for Karl's and one for Freud and has created an interactive music changing out of emotional data in real time, two kinds of data being extracted by the EEG sensors : Valence value (pleasant or unpleasant feelings) and Arousal value. This was a very challenging issue in terms of composing, to incorporate an element of unpredictability into the composition that is able to strengthen an emotional tendency. Valence level has been chosen to affect tonality and timbre. Arousal level has been chosen to affect rhythmic intensity.
Executing producer : Le Crabe Fantôme, Nantes, France. Partnerships : DV Group Paris, School of Arts and Design TALM-Le Mans France, MENTALISTA company Paris, PAPER STREET company, Paris. Scientific partners : Laboratoire d'informatique LS2N de l’Universite de Nantes ; SCRIME, Université de Bordeaux and Enactive Reality Lab, Baltic Film, Media, Arts and Communication School (BFM ), Centre of Excellence in Media Innovation and Digital Culture (MEDIT), TLU University, Tallinn, Estonie. Funding : grant « Brouillon d’un rêve, Pierre Schaeffer » 2016 SCAM, Civile Society of Multimedia Authors - Research and innovation grant, Ouest Industries Creatives, Amorçage, 2017 Pays-de-Loire - ARTEX grant Pays-de-Loire 2018 - European Post-doctoral Grant Mobilitas Pluss in Tallinn university in Estonia 2021-2022.
Download file : https://drive.google.com/file/d/1co0g4QFzB1OYNjTR8EnecwjY9l5zo9R6/view?usp=drive_link
Emotive Cinema prototype, and its neuro-emotive film,
" Mademoiselle Paradis" ( 2014-2025)
Emotive Cinema prototype, and its neuro-emotive film,
" Mademoiselle Paradis" ( 2014-2025)
Sample of the film :
https://drive.google.com/file/d/1NNaKvIJ2FTCtYYxGuAYefjPqxQd6-wAl/view?usp=drive_link
TF1 national TV reportage :
https://vimeopro.com/curiosite/marie-laure-cazin/video/138975795
Emotive Cinema is a prototype of interactive cinema in which the film varies according to the emotions of the audience, analysed by using EEG headsets that capture their brain activity. The film responds to the audience's feelings in real time, the characters act differently and the script varies from one screening to another.
Composer Andrea Cera ‘sonifies’ the audience's brain waves in real time, turning them into performers in the film by incorporating them into the soundtrack.
Neuro-interactive pilot film : "MADEMOISELLE PARADIS"
Colour, sound, French and English subtitles, 2014, about 30'.
Synopsis
Inspired by real events, the film depicts the controversial healing of a young musician suffering from nervous blindness, Miss Paradis, by Franz-Anton Mesmer, an 18th-century Viennese physician and pioneer of magnetism (to mesmerise) . Depending on the brain waves emanating from the ‘active spectators’ in the theatre, the variations in the script will offer different interpretation of the origin of Miss Paradis’s trauma.
Emotive Cinema 02 was presented for the first time in ZEBRASTRAAT, Ghent, Belgium, in the context of the exhibition curated by Thierry Dufrêne, "Intelligence, it's automatic, from surrealism to AI", the 20th of february 2025.
It was tested in 2023 during the acces)s(. festival, Pau, France.
Since the launch of its first version in 2014, this neuro-interactive cinema device has been the subject of persistent interest at national and international level in artistic and academic communities.
V2 :Produced by Filmo 2, co-produced by SCRIME LaBRI University of Bordeaux and ACCES)S( electronic cultures - Partnership with MENTALISTA company. Granted CULTURES CONNECTEES, DRAC Nouvelle Aquitaine, Ministry of Culture, Nouvelle Aquitaine region. Partnership ESAD-TALM Le Mans.
V1 : Production Filmo, partners: La Panacée, Centre de Culture Contemporaine Montpellier, La Conditon publique, Roubaix and Stéréolux, Nantes. It was supported by Pictanovo, ‘Interactive Experiences’, Nord-Pas de Calais Region, Lille Métropole Urban Community, Dicréam - Aide à la Maquette, CNC - Ministry of Culture and Communication and SCAM, ‘Brouillon d'un rêve numérique’ grant. Scientific collaboration: LABRi, SCRIME and INRIA University of Bordeaux, LS2N University of Nantes, Numédiart, University of Mons, Belgium, LIFL-NOCE and LAGIS University of Lille. V1 broadcasts: Premiere at Le Fresnoy, National Studio of Contemporary Arts, February 2014, workshops open to the public at La Condition Publique (Roubaix), March 2014, at Stéréolux Lab (Nantes), April 2014, at La Panacée (Montpellier) July 2014.
Programming: Zeebrastraat, Ghent, Belgium, Feb. 2025, Nuit Blanche 2014, Aventura cinema, Brussels, FETNAT garden party, Château de Blandy, June 2014, SCAM ‘Best of’ evening, June 2018, Courant 3D festival, Angoulême, 2019...
Download file (FR) : https://drive.google.com/file/d/1co0g4QFzB1OYNjTR8EnecwjY9l5zo9R6/view?usp=drive_link
"Ubik's Halloween", video, 3',
Pixel's memory project (2006-2025)
"Ubik's Halloween", video, 3',
Pixel's memory project (2006-2025)
Pixel Memories’ Research and Creation Workshop took place in 2006, at the Ecole Européenne Supérieure de l'Image, Poitiers/Angoulême, in collaboration with the University of Poitiers. Together with Daniel Barthelemy Gilles Bollaert, Nadia Sabourin and Pr. Bertrand Augereau.
Video link : https://www.dropbox.com/scl/fi/u414joydcuwhtbfw5jsay/UBIK-s-HALLOWEEN_ML-CAZIN_2025.mov?rlkey=d228ujvh9sbzuw1amfrcm21ar&st=e4atxdj2&dl=0
Pixel Memories (Y) is based on a principle that uses the value of the pixels in an image – or sequence of images – as a temporal index to create images whose pixels are not synchronised. Indexing can be based on pixel intensity, chromatic value, or a combination of both. Effects of persistence, accumulation, or proximity influence can be added to the indexing principle in order to obtain a very wide range of effects inducing a certain ‘memory’ of the pixels. This mechanism thus makes it possible to very finely mix several temporalities in the image. This principle of indexing pixels in time is a new form of narration that reflects digital image technology. Movements in the image are described in a non-linear and non-synchronous form. Here, temporality is fragmented, deferred, distorted, and anamorphosed.
Fisrt version screened at the "Festival Spirits", curated by Jean-Marc Chapoulie, Palais de Tokyo, Paris, June 2009.
"Motion maps" (cartes de mouvement) - In progress
Series of digital images, 2025 (in progress), 42 x 29,7 cm.
Printed on mat photo paper out of digital files. produced with the help of Ecole Supérieure d'Art et de Design -TALM Le Mans.
See group exhibition : "We have no visibility" project by Andrea Cera, oct. 2025 in Artemisia gallery, Thiene, Italy : https://www.artemisiagalleria.it/mostra-whzv.html
These images are the calculation of the movement between film images, by the program "Retouche", LS2i, University of La Rochelle, France. Dedicated to film restoration, it is capable of analysing the movement of elements from one frame to another. Misusing the software, I asked it to create the missing images between the photographs I made for the films, Stain Stories 1 and 2". In these ‘motion maps’, you only see the pixels that have moved and have been recognised by the software. They are a graphical representation of a calculation, out of which you can generate as many intermediate images as you want. These representations of movement, like unexpected stills from the film, reconstructing in subtitles the voice-over excerpts that correspond to the scene from which they originate, and which are clues to the film. In a post-apocalyptic future, they can be the only digital traces left of the movement of human beiing. In that purposed, they have been presented in the exhibition/ fiction proposed by Andrea Cera, "we have no visibility" project.
"Motion maps" (cartes de mouvement) - In progress
Series of digital images, 2025 (in progress), 42 x 29,7 cm.
Printed on mat photo paper out of digital files. produced with the help of Ecole Supérieure d'Art et de Design -TALM Le Mans.
See group exhibition : "We have no visibility" project by Andrea Cera, oct. 2025 in Artemisia gallery, Thiene, Italy : https://www.artemisiagalleria.it/mostra-whzv.html
These images are the calculation of the movement between film images, by the program "Retouche", LS2i, University of La Rochelle, France. Dedicated to film restoration, it is capable of analysing the movement of elements from one frame to another. Misusing the software, I asked it to create the missing images between the photographs I made for the films, Stain Stories 1 and 2". In these ‘motion maps’, you only see the pixels that have moved and have been recognised by the software. They are a graphical representation of a calculation, out of which you can generate as many intermediate images as you want. These representations of movement, like unexpected stills from the film, reconstructing in subtitles the voice-over excerpts that correspond to the scene from which they originate, and which are clues to the film. In a post-apocalyptic future, they can be the only digital traces left of the movement of human beiing. In that purposed, they have been presented in the exhibition/ fiction proposed by Andrea Cera, "we have no visibility" project.
"Stains' Stories I"
"Stains' Stories I"
35 mm argentic film, colour, sound dolby stereo, 10' 2003. Production Le Fresnoy, Studio national des Arts Conteporains, Tourcoing, France.
Sample : https://vimeopro.com/curiosite/marie-laure-cazin/video/138971683This film can be consulted in the French National Library collection, BNF : https://data.bnf.fr/fr/documents-by-rdt/14561318/au/page1
Synopsis
A strange closed-door meeting takes place in a Parisian apartment on May 1, 2002, during the famous demonstration in which the left party called for voting for right presidential candidate Jacques Chirac against far-right candidate Le Pen.
Image creation
This 35 mm film is not a film. It was created from photographs. The missing images between the photographs were reconstructed using software. This involved repurposing film restoration software developed by Professor Besserer's team at the L3i research laboratory at the University of La Rochelle. Since the software is capable of analyzing the movement of pixels from one frame to another, I asked it to “restore” the movements of my characters from one photograph to another. It thus generates imperfect images, where the characters' movements are accompanied by a slight cloud of pixels, which, like a swarm of seamstresses, sew the old image and the new one together.
Production Le Fresnoy, studio national des arts contemporains, Tourcoing, France. Partnership : Centrimage for kinescoping. Scientific partner : laboratoire L3i de l’Université de la Rochelle, France.
Selected in the International Festival of Locarno, section "In progress", 2003.
"Blossom, Stain' stories II"
"Blossom, Stain' stories II"
20’, colour, sound, French and English versions. Film made out digital photographs animated by a program dedicated to restoring films, called RETOUCHE, 2006.« The sound track of movement » is created by the composer Andrea Cera.
Sample : https://vimeopro.com/curiosite/marie-laure-cazin/video/138971683
Synopsis
Catherine is a librarian. The books echo the moods of the readers buzzing around her. One of them, entangled in his fantasies and loneliness, clumsily tries to approach her. Blossom is that uncertain moment in spring when hailstorms alternate with warm, sunny spells. A vague desire for renewal and excitement drives the male characters.
Image creation
Digital photographs and editing software. Restoration of missing images between photographs using automated interpolation. An imperfect reconstruction mixing real and fake images. (see “The stories of stain 1”)
The sound of movement
To extend the particularity of the image production method into sound, we created a special soundtrack: “the sound of movement,” which consists of transposing the movements observed in the image into sound data. Using this data, the composer created a continuous soundscape that constantly and rigorously transposes the amount of movement in the images. It is a kind of digital “sound effect” to be used during the final mix, in the same way that one chooses whether or not to keep the direct sound recordings in a traditional film production. What we are dealing with here is the “live sound” of movement. The sound materials used to generate these backgrounds are instrumental samples corresponding to the characters in the film and their emotions.
Production Atopic, Paris. Co-production Ars Numerica, Le Fresnoy Studio National des Arts Contemporains. Scientific partner : laboratoire L3i de l’Université de la Rochelle (Bernard Besserer). Granted by the Commission Production Cinéma Région Franche-Comté, 2005 and Dicréam (CNC) 2003.
Selected in the MOSTRA, International Film Festival of São Paolo, Brasil. (short film category) 2006.
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