Nowadays, the cinematographic language claims for a specific type of interpretation and understanding. The emergence of the digital image and the innovative immersive reception devices provide new and diverse possibilities of reading and interacting within the filmic narrative. That is to say, cinema is constantly reinvented and explores potential renewals within the new interactive medias. This article reflects not only on the mutations of the filmic narrative, but also on its adaptation to interactivity. It proposes, also, new models of implementation, from traditional filmic narrative towards an interactive one. The experimental project Transparency illustrates it-it is a cinematographic project, which has the main goal of studying the interactive filmic narrative. An original plot has been created and adapted to an interactive narrative structure. The project is presented under the form of an installation allowing the spectators to choose the narrative sequences of the story.

We present an overview and discussion of the Colloquium «Narrative, Media and Cognition», which took place at Porto's Centre of Catholic University of Portugal in July of 2015, under the organization of the Research Centre for Science and Technology of the Arts (CITAR). Several scholars of different areas presented research about the uses and advances in narrative study and practice in a broad range of areas, giving some important insights about the latest developments in Narrative Studies, Ontology of Narrative and the uses of Narrative in Art, Cinema, Performance, Journalism, Marketing and Literature, among other fields. After briefly describing the main points of each presentation in the Colloquium we try to draw some conclusions and possibilities raised by the Colloquium and take a glimpse of future paths that the use of Narrative can end up taking.

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This paper highlights the art object nature as a theoretical anchor regarding contemporary virtual art, as well as traditional art practices, like painting. The analysis takes as a starting point the new immaterial status of the artistic object in the computer age. Despite the widespread prevalence in the analysis, our goal is to detach some key features as: meaning, intentionality and virtualization. These subjects prove to be related to each other and most of all, the link between intentionality and virtualization, brings forward the inconclusive nature of the art object and the decisive role of the spectator in the outcome of the creative process. Therefore, we acknowledge that the virtual fosters creativity, although remarking the lack of substance in some expressions of new media art. So, a final statement reassesses the importance of traditional practices, but now with the awareness of new media cultural logic, and its contribution to creation.