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O artefacto The Weight of Water (tWoW) 3.0 constitui-se como um filme-campanha experimental interactivo inserido na órbita das Social Good Campaigns, de pendor artivista, dedicado à problemática da saúde mental no desporto de (alta-)competição, com enfoque particular na natação. Situado no âmbito da investigação-criação em média-arte digital, tWoW explora de que modo a interactividade cinemática pode operar como dispositivo de sensibilização e consciencialização, articulando cinema, som e agência gestual do espect-actor.Do ponto de vista metodológico, o estudo adopta uma abordagem exploratória que triangula investigação-criação, a/r/cografia e metodologias qualitativas —nomeadamente heurística e Análise Temática Reflexiva— aplicadas à observação não intrusiva e ao feedback verbal recolhido em contextos expositivos académicos. Esta articulação sustenta uma compreensão situada das interacções com o artefacto, privilegiando a dimensão estética e corporal da fruição sem recorrer à recolha de dados biométricos identificáveis.Os resultados exploratórios sugerem que a alternância gestual entre duas camadas narrativas contrastantes —poesia e pressão— pode convocar processos de atenção, hesitação e implicação sensível relevantes para a reflexão crítica em torno da cultura do (alto-)desempenho. Ao convocar testemunhos de atletas que romperam com o silêncio institucional sobre a saúde mental, tWoW reinscreve o desporto de (alta-)competição como espaço humano e vulnerável.Neste enquadramento, tWoW configura-se como uma etapa significativa na consolidação de uma abordagem artístico-comunicacional em evolução, cujos desdobramentos permanecem em aberto, preparando o terreno para investigações futuras sobre a intersecção entre média-arte digital, narrativas cinemáticas interactivas e comunicação socialmente orientada.

The artefact The Weight of Water (tWoW) 3.0 is conceived as an experimental interactive film-campaign situated within the orbit of Social Good Campaigns, with an artivist inclination, dedicated to the issue of mental health in (high-)performance sport, with a particular focus on swimming. Situated within the field of research-creation in digital media art, tWoW explores how cinematic interactivity may operate as a device for sensitisation and awareness-raising, articulating filmic registers, sound and the gestural agency of the spect-actor.Methodologically, the study adopts an exploratory approach that triangulates research-creation, a/r/cography and qualitative methodologies —namely heuristics and Reflexive Thematic Analysis— applied to non-intrusive observation and verbal feedback collected in academic exhibition contexts. This articulation sustains a situated understanding of interactions with the artefact, privileging the aesthetic and embodied dimensions of experience without resorting to the collection of biometric or personally identifiable data.Exploratory findings suggest that gestural alternation between two contrasting narrative layers —poetry and pressure— may evoke forms of attention, hesitation and sensitive implication relevant to critical reflection on the culture of (high-)performance. By drawing on testimonies from athletes who broke institutional silences around mental health, tWoW reinscribes (high-)performance sport as a human and vulnerable space.In this framework, tWoW is positioned as a significant step in consolidating an artistic-communicational approach in evolution, whose developments remain open, setting the ground for future investigations at the intersection of digital media art, interactive cinematic narratives and socially oriented communication.

The artefact The Weight of Water (tWoW) 3.0 is conceived as an experimental interactive film-campaign situated within the orbit of Social Good Campaigns, with an artivist inclination, dedicated to the issue of mental health in (high-)performance sport, with a particular focus on swimming. Situated within the field of research-creation in digital media art, tWoW explores how cinematic interactivity may operate as a device for sensitisation and awareness-raising, articulating filmic registers, sound and the gestural agency of the spect-actor.Methodologically, the study adopts an exploratory approach that triangulates research-creation, a/r/cography and qualitative methodologies —namely heuristics and Reflexive Thematic Analysis— applied to non-intrusive observation and verbal feedback collected in academic exhibition contexts. This articulation sustains a situated understanding of interactions with the artefact, privileging the aesthetic and embodied dimensions of experience without resorting to the collection of biometric or personally identifiable data.Exploratory findings suggest that gestural alternation between two contrasting narrative layers —poetry and pressure— may evoke forms of attention, hesitation and sensitive implication relevant to critical reflection on the culture of (high-)performance. By drawing on testimonies from athletes who broke institutional silences around mental health, tWoW reinscribes (high-)performance sport as a human and vulnerable space.In this framework, tWoW is positioned as a significant step in consolidating an artistic-communicational approach in evolution, whose developments remain open, setting the ground for future investigations at the intersection of digital media art, interactive cinematic narratives and socially oriented communication.

The artefact The Weight of Water (tWoW) 3.0 is conceived as an experimental interactive film-campaign situated within the orbit of Social Good Campaigns, with an artivist inclination, dedicated to the issue of mental health in (high-)performance sport, with a particular focus on swimming. Situated within the field of research-creation in digital media art, tWoW explores how cinematic interactivity may operate as a device for sensitisation and awareness-raising, articulating filmic registers, sound and the gestural agency of the spect-actor.Methodologically, the study adopts an exploratory approach that triangulates research-creation, a/r/cography and qualitative methodologies —namely heuristics and Reflexive Thematic Analysis— applied to non-intrusive observation and verbal feedback collected in academic exhibition contexts. This articulation sustains a situated understanding of interactions with the artefact, privileging the aesthetic and embodied dimensions of experience without resorting to the collection of biometric or personally identifiable data.Exploratory findings suggest that gestural alternation between two contrasting narrative layers —poetry and pressure— may evoke forms of attention, hesitation and sensitive implication relevant to critical reflection on the culture of (high-)performance. By drawing on testimonies from athletes who broke institutional silences around mental health, tWoW reinscribes (high-)performance sport as a human and vulnerable space.In this framework, tWoW is positioned as a significant step in consolidating an artistic-communicational approach in evolution, whose developments remain open, setting the ground for future investigations at the intersection of digital media art, interactive cinematic narratives and socially oriented communication.