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Techno-historical Limits of the Interface: The Performance of Interactive Narrative Experiences
This thesis takes the position that current analyses of digitally mediated interactive experiences that include narrative elements often lack adequate consideration of the technical and historical contexts of their production.
From this position, this thesis asks the question: how is the reader/player/user's participation in interactive narrative experiences (such as hypertext fiction, interactive fiction, computer games, and electronic art) influenced by the technical and historical limitations of the interface?
In order to investigate this question, this thesis develops a single methodology from relevant media and narrative theory, in order to facilitate a comparative analysis of well known exemplars from distinct categories of digitally mediated experiences. These exemplars are the interactive fiction Adventure, the interactive art work Osmose, the hypertext fiction Afternoon, a story, and the computer/video games Myst, Doom, Half Life and Everquest.
Scott Rettberg - 13.12.2012 - 22:42
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From page to screen: placing hypertext fiction in an historical and contemporary context of print and electronic literary experiments
Only recently has our perception of the computer, now a familiar and ubiquitous element of everyday life, changed from seeing it as a mere tool to regarding it as a medium for creative expression. Computer technologies such as multimedia and hypertext applications have sparked an active critical debate not only about the future of the book format, ("the late age of print" {Bolter} is only one term used to describe the shift away from traditional print media to new forms of electronic communication) but also about the future of literature. Hypertext Fiction is the most prominent of proposed electronic literary forms and strong claims have been made about it: it will radically alter concepts of text, author and reader, enable forms of non-linear writing closer to the associative working of the mind, and make possible reader interaction with the text on a level impossible in printed text. So far the debate that has attempted to put hypertext fiction into a historical perspective has linked it to two developments.
Scott Rettberg - 13.12.2012 - 23:40
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Písanie v interaktívnych médiách. Digitálna fikcia /Writing in the Interactive Media. Digital Fiction
The subject of the thesis is to introduce and contextualise the possibilities of writing in the interactive media as well as to study the literary art of interactive media in the Anglophone area. One of the attributes of the contemporary art pieces of interactive media is their intermedial character; the authors often link text, image and sound to introduce the fictional world. The aim of the thesis is on one hand to refer to the questions that are not new but have appeared in new circumstances due to the digital format and internet and on the other hand to refer to the questions typical for the digital fiction research. The research concentrates on the digital fiction – a digital piece written in a computer programme, in which the author offers a fictional world. The thesis addresses several aspects of digital fiction, whose combination indicates its characteristic status within the group of digital art – fragmentarity of narrative, multilinearity, interactivity, performativity, dynamics, intermediality and the principles of game and play.
Zuzana Husarova - 28.06.2013 - 14:46
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Le récit littéraire interactif. Narrativité et interactivité
The expression interactive literary narrative applies to a variety of works. In its diversity, the
interactive literary narrative raises questions on narratives, interactive architecture, multimedia as
well as on literature. It is because the interactive literary narrative is wrought by tensions that it has
this questioning and maybe even revealing capacity. This tension is first and foremost that which lies between narrativity and interactivity and which investigates other connections or tensions :
- with regards to the narrative, the tension between adherence and distance can be characterized by a play on fictionalization and reflexivity;
- with regards to the interactive architecture, the tension between assistance and control roles can
manifest itself by a play on loss of grasp,
- with regards to the multimedia, the tension between a text-based narrative and a multimedia
narrative can be reached by work on text as a dynamic and polysemiotic object, and also the
theatralization of interactive objects endowed with behaviour,Patricia Tomaszek - 09.07.2013 - 20:19
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Immersion and Interactivity in Digital Fiction
Digital fiction began by defining itself against the printed book. In so doing, transgression of linearity and the attempt to reduce the authorial presence in the text, were soon turned into defining characteristics of this literary form. Works of digital fiction were first described as fragmented objects comprised of “text chunks” interconnected by hyperlinks, which offered the reader freedom of choice and a participatory role in the construction of the text. These texts were read by selecting several links and by assembling lexias. However, the expansion of the World Wide Web and the emergence of new software and new devices, suggested new reading and writing experiences. Technology offered new ways to tell a story, and with it, additional paradigms. Hyperlinks were replaced with new navigation tools and lexias gave way to new types of textual organization. The computer became a multimedia environment where several media could thrive and prosper. As digital fiction became multimodal, words began to share the screen with image, video, music or icons.
Daniela Côrtes Maduro - 05.02.2015 - 12:28
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The story, the touchscreen and the child: how narrative apps tell stories
Digital children’s literature is a relatively recently established field of research that has been seeking for its theoretical base and defining its position and scope. Its major attention so far has been on the narrative app, a new form of children’s literature displayed on a touchscreen computational device.
The narrative app came into being around 2010, and immediately attracted the attention of the academics. So far, various studies have been conducted to explore its educational potential, but very few have investigated the app for what it is in its own right. To bridge the gap, this study has explored the nature of the narrative app and the essential principles of its narrative strategies.
Iben Andreas Christensen - 16.09.2020 - 11:22
