Publab – toward the future of reading
(and a standard for web publications)

What is PubLab?

PubLab is a toolset – not a platform – to enable the creation of web publications, as defined by the W3C.

Why web publications in the first place?

Today, a digital publication in the established form of an e-book (in EPUB and derivative formats) is different from a website – both ideologically and technologically. It follows the idea of book as object that can be put on shelf rather than the ideas, and possibilities, of the Open Web Platform. From the point of view of the publishing industry this makes sense, because it only slightly shifts the way business is done, but from the reader’s and creator’s perspective it produces a set of serious constraints:

  • Epubs need separate apps to read the publications, creating additional complexity – you have to research and choose your app: which one feels best, which can synchronize your notes across devices (and not many can), and when you have chosen, you are effectively locked to the application (because there is no way to transfer your highlights and notes)
  • The reading experience of these books cannot be designed (it is the app that decides on the reading experience) – as a result, all digital books look the same, which is frustrating for designers, because today’s web allows for fantastic control of typography & layout
  • E-books can’t take advantage of the possibilities of the contemporary web: audiovisual content, advanced interactions, custom audio (i.e. audiobook functionality)

Reading is a sensuous experience

All those who emphasize that it is important for them to read a book in its printed form emphasize the sensousness of the reading experience. This sensouousness is related to the texture and smell of the paper, typeface, graphic design, etc. None of this is provided by modern digital publications.

More so, reading today is multimodal: we read – often the same thing – on different devices, in different contexts, we change to audiobook format when driving, look up videos while discovering new contexts etc. The question that arises is not only about what an optimal digital reading experience is today, but also how reading itself is changing as a result of the impact of the internet.

The challenge is to find a form of reading experience that would be relevant to contemporary ways of interacting with cultural content. Which, in turn, is increasingly hybrid, less text-dependent.

The future of reading

We believe that web publishing is the future of both reading and visual literacy. At the vnLab Interactive Narratives Studio we have been working on a set of tools that would allow us to create contemporary digital publications in the full sense of the word. We see value in combining the traditional model of binding content (giving it coherence through the common “frame,” of an autonomous publication) with the accessibility, addressability and interconnectedness of the Internet.

PubLab an attempt to create not only an efficient, green and future-oriented technology stack, but also a contemporary, sensousous reading experience. Thus, it is as much about technology as it is about UX and design. We put all our designs through tests to see how our proposed solutions interact with the audience, whether they seem readable to them, and whether they interfere with reading immersion. The quality of the graphic design is key for us.

Our stack

  • our publications are progressive web apps (PWA)
  • these apps are in fact static web pages – they are composed of pure html + css, with an addition of javascript
  • at the stage of preparation of the publication, we separate form and content: we treat the content of the book as its source code, which we “compile” with our tools into the final form of the book
  • the content marked up with the markdown language is our source code – we are working on extending the syntax to include multimedia elements (images, sliders, galleries, video, objects, embeds)
  • using an external API – Hypothesis – we were able to add device-agnostic annotation features to our stack. Hypothesis is not yet ready for the general user, but it is the most developed web annotation tool available today

It is necessary not only to comply with the W3C guidelines or to be aware of similar projects, but above all to take advantage of the developing infrastructure for metadata exchange that is necessary for this new type of publication to find its way into library catalogs and their search engines. Here a key reference point is COPIM ( and their projects, such as the Thoth metadata exchange system ( or the work of the Open Book Collective. -> 🛫

The PubLab Collective

In November and December, we organized a public seminar dedicated to web publications at the Krytyka Polityczna think tank in Warsaw, Poland. Out of the seminar, the PubLab Collective arose. Contact us if you are interested!



The School, a world – interactive observation document

Sławek runs through the fields with a metal detector. Marzena is browsing Facebook in the barn. Adam with a bending barbell breaks the world record in weightlifting. Only cows still go to school. Where? In Chlebiotki, a small village in Poland.

Barely 60 people live here. On Sunday they go to church and during the week everyone does their own thing. Houses are rimmed with thuyas to ward off neighbours. In the evenings everyone is online. Dreaming of something different. There is an empty building in the village. It used to be a school, built by a community effort. But there are almost no children in the village anymore. So Wojtek bought the run-down school and for 8 years has been trying to turn it into a business, with no success so far.

“The School, a World” is an interactive documentary based on observation, annoyance and love. Each chapter is devoted to one of 8 characters. The immersive sound leads the narration. The film’s director grew up in the village. The school was her home. She returned after 20 years to seek traces of her past and found a whole, complete world.


Iga Łapińska – director. She is involved in documentary, oral history, editing and self-promotion in TV film channels. She wanted to be a scientist, which is why she studied Polish philology and film studies, but she much prefers practice to theory. For the Stopklatka TV channel, she has conceived and produced programmes about cinema such as „Prywatna historia kina”, „100 kultowych filmów”, „Ja tu tylko oglądam” and „8 i pół filmu”. She directed the 6-part web documentary ‘Krótki kurs kultury romskiej’. With Ewa Jarosz, she invented an instagram educational series for young people entitled. “Nina_innahistoria” – about a teenage girl in a Polish-Jewish town before World War II (main prize in the Ośrodek KARTA film hackathon; project not yet realised). Until the age of fifteen, she lived in Chlebiotki, a small village in Podlasie. She talks about it in the documentary ‘The School, a world’, which is her interactive debut.

Ewa Jarosz – project manager, historian, Judaist, activist associated with the food cooperative movement. Graduate of the Jagiellonian University, University of Southampton and the Tischner European University. Enthusiast and practitioner of community management of common goods, interested in the history of grassroots social action during the communist period. For ‘The School, a World’ project, she co-created the concept, interactive narrative, archival layer and editorial.

The project was financed under the Ministry of Education and Science programme within the framework of the “Regional Initiative of Excellence” for the years 2019-2023, project number 023/RID/2018/19, funding sum PLN 11 865 100

Interactive Narratives and Essay Film Studio at 39. Kasseler Dokfest

During Kasseler DokFest, we will present the activities of our two Studios.

The Interactive Narratives, Digital Scientific Publications and UX Studio is dedicated to the study and development of new forms of narratives aris- ing from the use of digital interactive technologies in documentary film and related forms such as film essay. The Studio was founded on observation of transformations in the area of in 21st century doc- umentary which became a field of experimenta- tion with audiovisual language and creating new models of narration as well as a place where film meets with other media: photography, literature, animated film or computer games. In the result of diverse experimentation within the documen- tary, media and digital technology, interactive documentary forms evolved. These constantly question and shift traditional roles of the author and the viewer. According to the Studio composing viewer’s emotional engagement in the interactive form demands not only good storytelling but also creating the whole new world to explore. This re- quires working in a brand-new environment which include interface and user experience designers as well as coders and creative technologists. The Studio will present excerpts from the interactive narratives produced in the studio and a fragment of the i-doc SCHOOL, THE WORLD SCHOOL, THE WORLD by Iga Łapińska and Ewa Jarosz – the larg- est production of the Studio so far.

The aim of the Essay Film Studio is to radically expand the research workshop, to develop new methods and new forms of thinking – thinking with images, sound and editing. It is an attempt to reinvent the form of the film essay by drawing on contemporary forms of audiovisual communi- cation, the genres, languages and conventions of contemporary cinema and the Internet. As part of the Essay Film Studio, this year a first series of workshops was organized, led by the world’s foremost experts in the field of essay film, includ- ing Laura Mulvey, Mike Bal, Cathrine Grant, Kevin B. Lee, Chloé Galibert-Laîné, Assaf Gruber, Eyal Sivan and in which selected participants from all over the world could work on their projects. As a result, the Essay Film Studio now serves as the production home for several essay film projects, including the award-winning film “Subtotals” by Mohammadreza Farzad, Mike Bal’s “It’s About Time! Reflections of Urgency” and, yet to pre- miere, “Solaris mon amour” by Kuba Mikurda. The participants of the seminar were also asked to contribute an anthology about the method, in which the gestures of many essayists are ana- lyzed. During the session representatives of the Essay Film Studio will present excerpts of the film projects and take part in a panel discussion about making and producing essay film as an epistemic practice. The films produced by Essay Film Studio are subsequently presented at festivals.

November 19

39th Kasseler Dokfest

1:30 pm

For more information follow the link.

Results of the vnLab Interactive Narrative Studio competition for 2021!

On April 26, 2021 the vnLab jury composed of:

Andrzej Sapija, Krzysztof Pijarski, Magdalena Sobocińska, Paulina Borkiewicz, Katarzyna Boratyn

settled the competition for participation in the artistic and research program of the vnLab Interactive Narration and UX Studio. Krzysztof Franek, Katarzyna Mąka-Malatyńska and Kuba Mikurda also participated in the evaluation of the applications. Andrzej Sapija was invited to participate in the work of the jury in place of Piotr Mikucki; Professor Sapija’s voice proved invaluable in the discussion on the applications, for which we would like to thank him.

Interactive Narrative Workshop 

Szkoła świat – the team represented by Ewa Jarosz
Zarastanie– the DIGIART team (Angelika Cebula, Jakub Ciosiński, Kinga Bożkiewicz, Sebastian Duran, Iga Filimowska, Adam Grygierzec, Mateusz Brzezicki, Jakub Gad)
Krajobrazy środka – Marta Zgierska
Cicer cum Caule – Anna Desponds
Internet platform for the online presentation of exhibitions by foreign artists living in Poland – ZA*Grupa (Vera Zalutskaya, Yuriy Biley, Yulia Krivich), * foreign artists living in Poland.


It is worth emphasizing that this year the level of applications was extremely high, which made the members of the jury face a real challenge. For this reason, honorable mentions were also awarded to the following two projects:


Inhibitor – Wojciech Olchowski
51% – silent voice of the majority – Karolina Śmigiel / UNI-SOLO Studio


The Interactive Narrative Studio team will make every effort to support the development of these projects.

We would like to thank the members of the Artistic Council for their participation in the Jury’s deliberations.

We congratulate all the contestants and look forward to working with the teams accepted to the Studio.

Thank you!

The vnLab Interactive Narrative and UX Studio Team

Chapter 1: Why social pictures?

In this interview with Nathan Jurgenson, we open the first of eight chapters of the project. Nathan Jurgenson is a social media theorist and author of the acclaimed book “The Social Photo: On photography and social media,” which will be released in Poland this fall. In the following weeks, Marta Ziółek, Karol Radziszewski and Mirosław Filiciak, among others, will present their commentary in the form of artwork, gesture or text.

We invite you to watch a teaser of this conversation:

The entire conversation as well as subsequent chapters and installments of the project will be published on a dedicated website.


Why pictures? – art and research project

The Laboratory of Interactive Narratives and UX at vnLab in collaboration with Krytyka Polityczna, Jasna 10, Krakow Photomonth and Widok magazine. Theories and Practices of Visual Culture are launching a long-term artistic and research project entitled Why pictures?

Its initiators and curators, Witek Orski and Krzysztof Pijarski, together with contemporary theoreticians and practitioners, will look at the global republic of images, searching for the democratic and communal potential of photography.

We are interested in the reflection on the contemporary status and circulation of images, as well as – or perhaps above all – their causality, texture, and life. The whole project is divided into chapters – within each chapter we would like to initiate an artistic and intellectual exchange, which will consist of reactions to the opening conversation and to statements and gestures of predecessors and predecessors.

Subsequent chapters and episodes of the project will be published on a dedicated website.



Makeshift is a documentary project about Bosnia and Herzegovina, about the recent war and the processes of rewriting history after the truce. The project focuses on documenting sites where crimes were committed against civilians, through the prism of their reintegration as public places. All the work resulted from the author’s research based on UN and ICTY court documents. So far, it has been presented in the form of three solo exhibitions, several group exhibitions, awarded in competitions and published.

The author of Makeshift is Paweł Starzec – photographer, sociologist, documentary filmmaker. He is primarily interested in correlations between space and its context, and in perceiving broader processes through their consequences and peripheries. Visual sociologist, dealing with contemporary iconography and visual narratives. Lecturer and academic teacher, creator of workshop programs, currently member of the artistic and educational collective Azimuth Press. Doctoral student at the Faculty of Applied Sociology, University of Warsaw, student at the Institute of Creative Photography, Silesian University in Opava (MA). Musician and sound artist, currently playing in the band Mazut, as well as solo as Industry Standard or Centralia. Enthusiast of DIY / zine culture. was created in the Laboratory of Interactive Narrations vnLab at the Film School in Łódź, under the care of studio managers Katarzyna Boratyn and Krzysztof Pijarski and in close cooperation with Michał Szota, who took care of the graphic design and programming.

Go to the project website

Interactive Narratives, Digital Academic Publications, and UX Studio

Head: Krzysztof Pijarski

Project Manager: Katarzyna Boratyn

Collaboration: Frédéric Dubois, Sandra Gaudenzi

The Interactive Narratives, Digital Scientific Publications and UX Studio is dedicated to the study and development of new forms of narratives arising from the use of digital interactive technologies in documentary film and related forms such as reportage and film essay.

The area in which we believe the most active experimentation with different types of interaction, viewer activation, where photography and film meet with literary forms, audio experiences, elements of animation and even computer games, are interactive (fictional)documentary forms. We see this field as an area of creating new models of visual narration, as well as a place where film meets with other media, especially photography, which is one of the areas of specialization of the Film School; as well as with literature or artistic exhibition. Hence our need to explore the field of interactive forms, to actively participate in it, and to take part in its further development.

The Studio is also intended to play a supportive role in the relationship with other vnLab studios, supporting and developing ways of presenting content such as VR, stereoscopic film, film essay, or multi-media scholarly publications, as well as producing distribution versions of the best works created in the Lab.

In the Interactive Narrative Studio, we support the creation of selected narrative interactive forms. Each of the works is created in a process of both creativity and research: the aspiration of the Studio participants is to find an appropriate narrative structure for the story they are telling. In order to do so, they confront not only questions about who the audience of the works they are creating is, but also about what kind of experience the story they are telling offers, or what narrative structure or technology will achieve the target experience.

An important part of the Studio’s work is the development of digital scholarly publications, using a variety of media and interactive technologies to present and disseminate research findings. As a result, the Laboratory becomes a publisher of works created within the Visual Narrative Laboratory with the intention of creating a new space for making public not only artistic but also scientific works. The digital form of the publication makes it possible to include fragments of digital and film works in theoretical articles, to include other audiovisual forms which build the context of scientific expression, and above all, which are scientific forms, as well as contemporary forms of visualization.

Results of vnLab competitions for 2020!

On December 6, 2019, the vnLab jury settled the competition for participation in the vnLab art and research program. We know that many of you have been waiting anxiously for the results. Indeed, in this, the first year of the lab’s operation, the process took an exceptionally long time. We wanted to appoint a competent, authoritative and open-minded Artistic Council, which we are convinced was successful. Its full composition can be found HERE. At this point we would like to thank all members of the Council for putting their trust in us and for participating in the jury’s deliberations. The level of entries was extremely high and as a jury we faced many difficult choices.

We congratulate all the contestants and look forward to working with the teams accepted to vnLab.

Thank you!

The vnLab team


  • Ksawery Kaliski – BLAST INVISIBLE RELATIONS (New narratives of contemporary and experimental music using virtual, augmented reality)
  • Patryk Jordanowicz – SELF
  • Krzysztof Grudziński – The Dead City
  • Stankiewicz – Somebody About You


  • Anna Baumgart – Miczika
  • Monika Masłoń – From My Point of View
  • Rafał Ulicki – Photographer. Life in images
  • Wojciech Olchowski – Factor

Workshop of Interactive Narrations

  • Alicia Devaux – On the influence of gender in the career of female cinematographers
  • Laura Pawela – Pink Horizon
  • RATS Collective – HOME
  • Michał Siarek – Good News from the Farthest County in Norway
  • Paweł Starzec – Makeshift
  • Tytus Szabelski – AMZN
  • Michał Szota – experimental form

Due to a change in the studio’s program for 2019, two projects, Pawel Starzec’s Makeshift and Tytus Szabelski’s AMZN are already underway. Because of this, the studio has accepted a total of seven projects.

S3D Studio – Directing

  • Anita Kwiatkowska-Naqvi

S3D Studio – Stereography/II stage of the competition

The participants in the second stage of the competition are:

  • Miłosz Hermanowicz
  • Zsolt Magyari

S3D Workshop – Screenplay

  • Tomasz Jeziorski

Laboratory of Interactive Narratives – Open Call

The vnLab Laboratory of Interactive Narratives announces a competition for participation in the workshop’s artistic and research program.

We invite artists interested in creating autonomous, interactive digital photographic or film projects of documentary or artistic nature to participate.

In order to participate in the competition you must:

  1. Read the REGULATIONS of the competition
  2. Prepare and send to the documents required by the regulations:
    1. curriculum vitae with documents confirming the experience required to participate in the competition
    2. portfolio of creative achievements to date
    3. documentation of an artistic or documentary project which the candidate plans to develop in an interactive form
  3. fill in the APPLICATION FORM

We invite you to participate in the competition!

Rules of the competition for participation in the artistic and research program of the vnLab Laboratory of Interactive Narratives

§ I. Organizer and goal of the contest

The organizer of the Contest for participation in the artistic and research program of the vnLab Interactive Narration Workshop for 2020 (hereinafter referred to as “the Contest”) is the Leon Schiller National Higher School of Film, Television and Theatre in Łódź, Laboratory of Visual Narration with its seat at 61/63 Targowa Street in Łódź, 90-323 (hereinafter referred to as “the Organizer”). The goal of the Contest is to select five best photographic or film projects of documentary/artistic nature – also those using other media – to participate in the artistic and research program of the Laboratory of Interactive Narrations.

§ II. Participation in the Interactive Narrative Studio Program

The Interactive Narrative Lab is dedicated to the study and development of narrative forms that emerge through the use of digital interactive technologies in documentary film and related forms, such as reportage, documentary photography, and the film essay. The activity of the studio consists in supporting the creation of selected interactive narrative forms. In the studio 5 interactive projects will be developed annually, in the first stage of activities, from January to June, to the stage of prototypes. Each of the works will be created in the process of both creativity and research: the aspiration of the studio participants will be to find an appropriate narrative structure for the story they are telling. An important element of the programme are obligatory three-day workshops for the participants, held at least four times during the first stage of implementation, during which the participants of the studio – with the support of specialists invited by the studio and with the help of a technological consultant – are supposed to develop their ideas and support the development of other projects with their knowledge and skills. Apart from the workshops, regular consultations of projects already developed at the Studio will be held, as well as workshops on tools helpful in preparing prototypes. Of the 5 projects developed in the first half of the year, 2 will be selected by the Lab Council for implementation and publication as a final interactive work. If additional funding (either from participants or the Lab) is obtained during the course of the work, more works may be realized in final form. Copies of all prototypes will remain in the Laboratory’s archives as sample material for further research and presentation.

§ III. Rules of participation in the Contest

  1. The Competition is open to individuals (including teams of authors) with experience in creating documentary or artistic projects based on the media of photography or film, which have been presented at individual or group exhibitions in renowned artistic centers or during major festivals or, in the case of films, which have had a theatrical distribution or have been screened at an International Film Festival.
  2. In order to participate in the Competition, an application must be submitted to the Organizer which includes
    1. a completed and submitted entry form available HERE, and containing:
      1. title, short description and emblem of the project
      2. name and surname or name of the candidate for the Contest,
      3. address of residence or registered office of candidate for the Contest,
      4. telephone number and email address,
      5. declaration: “I agree to participate in the 2020 vnLab Interactive Narrative Studio Program Competition and accept its rules and regulations.”
    2. curriculum vitae with documents confirming the experience mentioned in paragraph 1 above.
    3. A portfolio of creative achievements to date, confirming the experience referred to in paragraph 1 above. The portfolio may include links to films and other multimedia content.
      documentation of an artistic or documentary project together with a programme text, which the candidate plans to develop in an interactive form (hereinafter referred to as “Project”).
    4. The documentation may include links to film or multimedia content. The Project should have been started with funding secured and a specific plan for completion, or be nearing completion, which should also be described and documented. The studio does not have funds for the development of the project itself, but only for the development of its interactive form. It should be taken into account that during the development of the prototype it may be necessary to take additional photographs or shots for the interactive form of the project. The dossier should include a justification – in any form, including a preliminary artistic concept – for why the candidate would like to realize their project in interactive form. If the justification is not in writing, the documentation may include a link to relevant materials.
    5. Information about funding for the project. If the candidate has also secured funding for the production of a digital or interactive form, it may be possible for the Lab to realize the project as a co-production, governed by a separate agreement. All documents listed above, prepared in PDF format, and labeled [project emblem]-[“experience” or “portfolio” or “project”]-2019.pdf, should be addressed to, putting the project emblem in the email title.
  3. The project should meet the following requirements together:
    1. it constitutes the exclusive creation of the person (or team) making the application and its exclusive property, also in terms of the copyright of the creator, or at the time of submission of the project, the necessary rights enabling the implementation of the experiment have already been acquired. In the latter case, it is necessary to enclose documents confirming the acquisition of rights
    2. has not been previously used in whole or in part in another interactive or multimedia project
  4. The deadline for submission of applications is 31 October 2019. Upon receipt of a complete entry, the Organizer will confirm acceptance of the entry to the Competition to the email address provided on the form.
  5. In order for the application to be considered successfully sent, the submitted files must be able to be read correctly.
  6. Each candidate for the Contest may submit only one entry to the Contest. The application may include a maximum of two Projects.
  7. Submitting an invalid entry may result in exclusion from the Competition of the Concept contained therein.
  8. Submitting an entry is voluntary and means in particular:
    1. acceptance and full acceptance of the provisions of these Regulations,
    2. consent to processing the applicant’s personal data for purposes related to the conduct, documentation and promotion of the Competition. Clauses concerning processing of personal data constitute Appendix No. … to these Regulations.
    3. to grant the Organizer, free of charge, a non-exclusive right, unlimited as to time and territory, to use and dispose of the submitted documentation of the Projects in all fields of exploitation, which especially includes the production of copies of the documentation by any technique and on any medium, marketing, public performance, exhibition, display, reproduction, broadcasting and rebroadcasting, as well as making the work available to the public in such a way that everyone can access it in a place and at a time individually chosen by them, including making it available via a computer network (especially Internet). The Organizer obtains these rights upon receiving the documentation for the Projects. These rights can only be used for documentation purposes, as well as for promotion and advertising of the Contest, as well as in information about the Contest and reporting of its progress.

§ IV. Settlement of the Competition

  1. The Competition is a one-stage event.
  2. The Jury evaluates Projects submitted by Contestants, taking into consideration in particular
    1. artistic or documentary value of the Project,
    2. artistic or documentary potential of the Project in an interactive form,
    3. creator’s justification why he/she would like to realize the Project in an interactive form (awareness of the medium),
    4. previous achievements of the designer.
    5. The compatibility of the Project with the artistic and research goals of the Interactive Narrative Workshop, in particular its contribution to the development of autonomous interactive narratives.
  3. The Jury will select 5 Projects that will participate in the artistic and research program of the vnLab Interactive Narrative Studio for 2020.
  4. The results of the Competition will be announced on the Organizer’s website by 10.11.2019. The Organizer will notify the winners of the results of the Contest by email, to the email address indicated in the application form.

§ V. Clarifications to the statutory requirements

  1. In the course of the Contest, individuals and entities, including author teams, who intend to participate in the Contest, or who have made a successful application to the Contest, may contact the Organizer with questions related to the requirements of the Project, according to the rules set forth in this paragraph.
  2. Questions referred to in paragraph 1 above should be directed by email to: and include the first and last name of the inquirer.
  3. Questions related to the Project requirements should be sent no later than October 9, 2019. These questions will be answered by the Organizer no later than October 20, 2019.
  4. The Organizer’s answers referred to in paragraph 3 above will be provided by publishing them on the Contest website.
  5. The published answers referred to in paragraph 4 above will be treated equally to the provisions of these Regulations in terms of the requirements for the Project.
  6. Questions sent after the deadline provided for in paragraph 3 above will not be answered.

§ VI. Jury

  1. The Jury members are appointed and dismissed by the Organizer’s Artistic Council.
  2. The Jury will evaluate the Projects on the basis of their artistic merit and originality and other requirements included in these Rules and Regulations, as well as the answers provided by the Organizer referred to in § IV item 4 of the Rules and Regulations.
  3. Decisions of the Jury are taken by a simple majority of votes in the presence of the majority of the Jury members.
  4. Decisions of the Jury cannot be appealed.

§ VII. Copyright

  1. The winner is the participant of the Contest, who, based on the Jury’s decision, was included in the artistic and research program of the vnLab Interactive Narration Studio for the year 2020. The provisions of this paragraph concern the Winner’s Concept, and the “Concept” referred to in this paragraph should be understood as the Winner’s Concept.
  2. All rights to the Design remain with the Winner.
  3. The Winner grants the Organizer the non-exclusive and territorially unlimited right, both temporally and territorially, to use the prototype of the interactive work developed within the artistic and research program of the vnLab Interactive Narration Studio and to dispose of it in all fields of exploitation, which especially includes the production of copies of the fixation using any technique and on any medium, marketing, public performance, exhibition, display, reproduction, broadcasting and rebroadcasting, as well as making the work available to the public in such a way that everyone can have access to it in a place and at a time individually chosen by them, including making it available through a computer network (including in particular the Internet). The Organizer obtains these rights as soon as the work on the prototype begins. These rights can be used solely for documentation purposes, as well as to promote and advertise the activities of the Interactive Narrative Studio, and in information about the activities of vnLab.
  4. In case of any use of the prototype of an interactive work developed within the artistic and research program of the vnLab Interactive Narrative Studio, and in particular in case of realization of its final version outside the vnLab, the Winner is obliged to inform about the genesis of the work each time, e.g. by placing a note in the information accompanying the work. The Winner is obliged to inform about the genesis of the work each time it is published, among others, by placing the following sentence in the information accompanying the publication of the prototype or the colophon of the final work: “The work has been created as part of the artistic and research program of the Laboratory of Interactive Narratives of the Polish National Film, Television and Theatre School in Łódź”, using the logotypes of the Laboratory and the Organizer.
  5. If the Winner’s prototype is selected for implementation within the Laboratory’s program, the ownership of the final interactive work will be transferred to the Organizer. The establishment and transfer of all rights to the final interactive work developed at the vnLab Interactive Narration Lab will take place under a separate agreement signed with the Winner, under which the Organizer acquires all proprietary copyrights to the final interactive work, covering all fields of exploitation known at the moment, in particular
    1. production by any technique of copies (including printing, reprography, magnetic recording and digital technique, in any system or format; on any media, uploading, downloading), digitalization,
    2. marketing, lending or leasing of the original or copies,
    3. public performance, exhibition, display, reproduction and broadcast (wireless or wire, by terrestrial station or by satellite) and rebroadcast, in any system, technique or format, as well as making the work available to the public in such a way that everyone can access it from a place and at a time individually chosen by them, making available as video-on-demand, webcasting, simulcasting, as well as making available through the use of streaming technology, high definition technology (HD), three-dimensional technology (3D) and VR technology, as well as within the framework of any telecommunication services with the use of any systems and devices (among others. including but not limited to cell phones, fixed and/or mobile computers, as well as transmissions using any available technologies e.g. GSM, UMTS etc, by means of telecommunication data transmission networks),
    4. use in a multimedia work,
    5. entering into the memory of a computer or other device, making available through a computer network (including in particular the Internet, multimedia networks and IPTV), as well as making available the possibility of reproduction through a computer network.
  6. The winner transfers to the Organizer the exclusive right, unlimited in terms of time and territory, to authorize the execution of derivative copyrights to the final interactive work created at the vnLab Interactive Narration Studio, in the fields of exploitation listed in point 5 , in particular to authorize the disposal and use of their development. The Winner also undertakes not to undertake any actions limiting this right in the future.
  7. The winner authorizes the Organizer to exercise his or her moral rights to the final interactive work created at the vnLab Interactive Narration Studio, and undertakes not to exercise his or her moral rights in a way that would limit the Organizer in exercising its rights to the said works. The preceding sentence refers in particular to the decision to make the works available to recipients (the public).
  8. The Organizer undertakes to make the final work available to the public in an open access format as part of the vnLab digital publishing series at the Library and Film Information Centre of the Polish National Film, Television and Theatre School in Lodz.

§ VIII. Final Provisions

  1. In matters not reserved for the Jury’s decision, decisions are made by the Organiser. The Organiser will resolve any doubts concerning the interpretation of the present Rules and Regulations.
  2. The present Rules and Regulations have been prepared in Polish and English language versions. In case of any doubt the Polish version shall prevail.
  3. In case of any disputes the competent court is the common court according to the seat of the Organizer.