Phlay — Sign(s) of the Times.
Phlay among technologies that are revolutionizing the “rhythmic-visual performativity”.
In the last year Phlay has achieved several goals. It has been widely acknowledged and has signed partnerships even beyond initial expectations. Those goals were animated by a truly innovative idea of interactivity: something able to “humanize” as much as possible the relationship between Artificial Intelligence and Human Factor, restoring a central role in the experience of video-music storytelling to creativity and manual dexterity . An itinerary that led us from the first experiences of “playing photographic images” in animated sequences on the rhythm of music (as in the “Phlay for Art” project), to the parallel editing of several synchronic video storylines on the Interactive Video Platform Phlay.tv, thus amplifying the level of audience engagement in a way that is directly proportional to the amplification of the narrative possibilities and the completeness of the final result.
Recent testimony of our effort is an entire chapter dedicated to Phlay of a book, Sign(s) of the Times, by the scholar of Aesthetics and digital cultures Serafino Murri, published by Meltemi Press, where Murri analyzes the definition of “digital subjectivity “: the hybrid life form that springs from the “uninterrupted “cooperation between the vital energy of the human and the algorithmic force of the devices. In the context of what the author defines as “techno-hybridizations”, Murri considers Phlay one of the most advanced experiential technologies in the field of “rhythmic-visual performativity”, which reformulates in an original way the relationship between acoustic rhythm, visual rhythm and playful-creative emotionality, asserting that our proprietary PBVF (Performance-Based Video Format) video format actually represents a “new frontier” of the interactive experience, which revolutionizes the concept of editing in the direction of a “generative remix” of images, based on the creative autonomy of the user: producing an image that is always alternative and “unique”, and infinitely reformulable starting from the concrete and unrepeatable experiential basis of the individual creative impulse.
For our side, we must confess that having been included in this sort of general mapping of the artistic excellences of contemporary digital thought together with giants of the caliber of Scott Snibbe (whose “Biophilia” App-Album, created with Björk, is on permanent display at MOMA in New York), or to the pioneers of musical generativity Brian Eno and Peter Chilvers, or even to an authentic genius of digital transmedia design like Aaron Koblin or avant-garde artists in the field of VR and Interactive such as Chris Milk or Rafael Lozano- Hemmer, finding ourselves among the very few examples of made-in-Italy truly innovative high technology on an aesthetic and experiential level, is not only an honor, but a further push to continue on our path of research and innovation in the communicative field: the main road of this adventure that began many years ago, and continues to involve us in ever new challenges. What makes us most proud of this recognition, is that the “artists” included in this prestigious list are first of all our users, whose online performances, unique, personalized and shareable (unlike what happens with some wonderful Apps working offline, such as Bloom by Eno and Chilvers or Bjork’s Biophilia itself), are elaborated in an authentic co-creative perspective, and represent the basis of our interactive ads campaign project, where branding impact is directly proportional to engagement and to the passion of the fan-base involved in the creation of user-generated content.
