Cultural Adventures is a scientific and artistic project developed by CIAC, in collaboration with the  School of Architecture and Design at King Mongkut’s University of Technology Thonburi, in the areas of visual communication and digital art, with the mediation and collaboration of the audiovisual artist Hanspeter Amnann.

In January 2018, CIAC signed a collaboration agreement with this Thai institution to develop research and experimental initiatives that promote scientific, technical and artistic cooperation between the University of Algarve and that international institution.

The project seeks interactions between Faro and Bangkok, exploring historical, contemporary, cultural, documentary, fictional, factual and symbolic relations between two distinct cultural contexts.

The mediation between the institutions will be held with the collaboration of the audiovisual artist Hanspeter Amnann, member of the Advisory Board of the CIAC.

The researchers Bruno Mendes da Silva from CIAC and Nigel Power from KMUTT share the scientific responsibility of the project.

After choosing 10 participants for the project we formed teams of two; one from the Thai and one from the Portuguese “side”.

In April 2019 these teams initiated a “dialogue” in which they started exchanging still and moving images, text and sound.

The adventure began and all participants started gathering “materia” while observing what happened during that process that would culminate in a “conversation piece”.


The CIAC project “The Forking Paths” is intended to foster the creation and hosting interactive movies of different genres, origins and types.

“The Forking Paths” is concerned especially with the development of the relationship between the spectator and the narrative, which is to be increasingly active and participatory. Therefore, we have the ultimate goal of contributing to the development of the audiovisual language.


Interactive movie Haze (select the lateral arrows of the film to access to the other image streams)

The interactive movie Haze, Volume I of “The Forking Paths” is intended to question the place of onlookers, recreating a new figure: the spectator-protagonist. Using an application that divides the narrative display images in three flows, offers the possibility of being the spectator to choose his own path in history, as the protagonist. On the other hand, reinvents the notion of time in film and looks for a less dormant and stagnant relationship between public and work, nullifying the distance between genders and between reality and fiction.


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