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| *__Mots-clés__ : Expérientialité, Immersion, Transmédia, Narratif, Social, Ludique, Spatial, Réalité Virtuelle, Interactivité | *__Mots-clés__ : Expérientialité, Immersion, Transmédia, Narratif, Social, Ludique, Spatial, Réalité Virtuelle, Interactivité |
| *__En rapport avec les articles__ :VIRTUAL REALITY, SPATIALITY OF DIGITAL MEDIA, TEMPORALITY OF DIGITAL WORKS, INTERACTIVITY, SIMULATION, NARRATIVITY | *__En rapport avec les articles__ :VIRTUAL REALITY, SPATIALITY OF DIGITAL MEDIA, TEMPORALITY OF DIGITAL WORKS, INTERACTIVITY, SIMULATION, NARRATIVITY |
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| | * **Interactive Documentary – GAUDENZI, Sandra, p. 282, 284 :** ★★☆ (T) |
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| | *__Synthèse__ : Article relatif aux « i-docs » ou « interactive documents », autrement dit les documents dans lesquels l’utilisateur doit disposer d’un certain degré d’agentivité. Le type d’agentivité, d’action du lecteur sur le document, qualifiera selon l’article le genre auquel l’i-doc appartient, provoquant une avalanche d’appellations par la suite réduite à une taxinomie fondée sur la dimension d’interactivité. Les i-docs seront ainsi « passive adaptive », « active adaptive », « immersive » ou « expansive ». Pertinent pour travailler le modèle d’interactivité du livre en contexte numérique. |
| | * __Extraits__ : « Any project that starts with an intention to document the real and that does so by using digital interactive technology can be considered an interactive docu- mentary (i-doc). This definition does not consider the i-doc as an evolution of linear docu- mentary in the age of digital media but as a new form that uses interactivity to position the viewer within the i-doc itself, demanding her to play an active role in the reconstruc- tion, representation, and negotiation of the facts it wants to convey. », p. 282; « What type of “doing” this is (whether it is clicking on a link, sending a personal video to a website, recording a statement that can be heard by other people, etc.) is what makes the difference between genres of i-docs. When forms of interactivity inspired by the game world (see games as stories), by interactive narrative (see interactive narrative), by educational software, or by loca- tive media (see location-based narrative) are applied to factual narrative and use a digital platform, the result is a type of document variously called web-doc, docu-game, collab-docs, edu-doc, art-doc, transmedia, or cross-media doc. », p. 282, « Galloway, McAlpine, and Harris (2007) see four possible interactive documentary models: the passive adaptive, where the documentary (through mechanical observation) displays different content based on how the viewer is reacting to material; the active adap- tive, where the viewer is in control of the documentary’s progression; the immersive, where the user is exploring the documentary through a virtual world or augmented reality; and, lastly, the expansive, where viewers are actually able to contribute to the documen- tary itself, making it an organic, ever-growing creation. », p. 283 |
| | *__Mots-clés__ : Interactive documentary, i-doc, Interactivité, Immersif, Agentivité |
| | *__En rapport avec les articles__ : GAMES AS STORIES, INTERACTIVE NARRATIVE, LOCATION-BASED NARRATIVE, DIGITAL FICTION, FILM AND DIGITAL MEDIA, INTERFACE, NONLINEAR WRITING, VIDEO |
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| | * **Interactive Drama – MAGERKO, Brian, p. 284, 289 :** ★☆☆ (T) |
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| | *__Synthèse__ : Cet article relatif aux drames interactifs examine particulièrement la question de l’autonomie des agents dans les drames interactifs. Selon cet aspect, il semble plus particulièrement intéresser le secteur du jeu vidéo. Il est peu probable qu’il soit utile autrement que pour sa dimension prospective, d’autant que la date du travail cité (Mateas et Sterne, 2002) risque une certaine obsolescence. Peu pertinent pour le projet. |
| | * __Extraits__ : « interactive drama seeks to empower a user in a story to have meaningful impacts on its progression and outcome, just like the decisions of a fictional character do in a standard drama. », p. 285; « The field, which has its roots in the decades-old field of story generation, was argu- ably founded in the early 1990s by the research of Joseph Bates and his students on the Oz Project at Carnegie Mellon, which was heavily influenced by the ideas described in Brenda Laurel’s book Computers as Theatre (1991). », p. 285; « As stated above, interactive drama is usually associated with a certain degree of user agency in a story experience. In other words, the amount of agency in an interactive drama experience is directly related to the degree to which decisions made by the user can affect story content, as well as the narrative experience of the user. », p. 285, « he processes employed by a drama manager can be categorized as external (e.g., giving commands to synthetic characters or changing physical elements in the story world) or internal (e.g., modeling the user’s behavior or reconfiguring the structure of the story knowledge with a replanning algorithm). », p. 287; « Weakly autonomous systems with drama managers have become the norm for the field in the past several years. », p. 287 |
| | *__Mots-clés__ : Interactivité, Agentivité, Autonomie, Narration, Jeu vidéo |
| | *__En rapport avec les articles__ : INTERACTIVE FICTION, INTERACTIVITY, PLOT TYPES AND INTERACTIVITY |
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| | * **Interactive Fiction – SHORT, Emily, p. 289, 292 :** ★★☆ (T) |
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| | *__Synthèse__ : La Fiction Interactive vise à décrire les histoires qui permettent au lecteur d’altérer la présentation ou le déroulement d’une narration – le terme sert tant les jeux vidéos que les formes plus hybrides de littérature. L’article précise une distinction utile entre la Fiction Interactive et de la littérature hypertextuelle ou des « choiced based narratives », mais également des logiciels Chatterbots ou de la poésie interactive. Selon Andrew Plotkin, un des aspects définitoires de l’Interactive Fiction serait l’impossibilité pour le lecteur de connaître la totalité des combinaisons narratives (voir extrait). Le champ est majoritairement tourné vers la Fiction Interactive d’aventure, des années 80 aux années 90 – aspect intéressant, la possibilité d’une unicité de l’autorité est pointée (contrairement aux jeux vidéos) tout comme l’absence de pression financière du champ (permettant des incursions créatives plus audacieuses que dans d’autres champs). Relativement pertinent pour le projet. |
| | * __Extraits__ : « Since the mid-1980s, however, interactive fiction has been used to refer specifically to works that share the formal characteristics, though not necessarily the genre expecta- tions, of the text adventure, a genre that focused heavily on puzzles and exploration. », p. 289; « The emphasis on parsed input distinguishes IF from choice-based narratives or hy- pertext literature (see hypertextuality); the use of the world model distinguishes it from chatterbot software or interactive poetry (see digital poetry). », p. 289; « Andrew Plotkin has suggested that the process of choosing a productive action from a large space of possibilities is the truly defining feature of IF. », p. 289; « In contrast to commercial computer games, IF can viably be written by single authors and express a focused authorial vision. Moreover, because most IF is distributed for free, authors have been at leisure to make choices without regard to marketability. », p. 290 |
| | *__Mots-clés__ : Interactivité, Fiction, Littérature, Récit, Autorité, Aventure, Narration, Jeu vidéo |
| | *__En rapport avec les articles__ : INTERACTIVE NARRATIVE, INTERACTIVITY, PLOT TYPES AND INTERACTIVITY, HYPERTEXTUALITY, DIGITAL POETRY, AUTHORING SYSTEMS, DIGITAL FICTIONS, ELECTRONIC LITERATURE |
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| | * **Interactive Narrative – RYAN, Marie-Laure, p. 292, 298 :** ★☆☆ (T) |
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| | *__Synthèse__ : La Narration Interactive implique une problématique structurelle importante : plus l’interaction est importante, plus il est difficile de l’intégrer à un arc narratif cohérent – les chercheurs en réalité virtuelle Louchart et Aylett appellent cela « the interactive paradox ». Le concept même de narration interactive est d’ailleurs discuté. Peu pertinent, surtout au regard des entrées « Interactive Drama » et « Interaction Fiction » - qui prouvent au moins que le champ définitoire n'est pas très stable. |
| | * __Extraits__ : « Whether or not interactive narrative actually exists depends on what one understands by interactivity: the more prominent the user’s role in the story, and the broader the choice of actions—in other words, the more lifelike the user’s participation— the more problematic is its integration into a well-formed narrative arc (see interactiv- ity). The virtual reality researchers Sandy Louchart and Ruth Aylett call this dilemma “the interactive paradox”: “On one hand the author seeks control over the direction of a narrative in order to give it a satisfactory structure. », p. 293; « The underlying structure of hypertext can take two forms: the tree and the network (see graph theory). », p. 294; |
| | *__Mots-clés__ : Narration Interactive, Interactivité, Fiction, Littérature, Récit, Autorité, Narration, Réalité Virtuelle |
| | *__En rapport avec les articles__ : NONLINEAR WRITING, NPC (NONPLAYER CHARACTER), PROCEDURAL, STORYSPACE, STORY GENERATION, PLOT TYPES AND INTERACTIVITY, EMERGENCE, CUT SCENES, GRAPH THEORY, DIALOGUE SYSTEMS,, QUEST NARRATIVE, AVATARS, HYPERTEXTUALITY, GAMES AS STORIES INTERACTIVE FICTION, ROLE-PLAYING GAMES |
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| | * **Interactivity – MECHANT, Peter, Jan, VAN LOOY, p. 302, 305 :** ★☆☆ (T) |
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| | *__Synthèse__ : L’article brasse des réalités connues, mais peut être utile pour un point de vue rapide sur la notion. 3 types d’interactivité sont explorées (interactivité formelle, interactivité informationnelle, interactivité inter-individuelles – traduction libre). Pertinence faible. |
| | * __Extraits__ : « In its most general sense, the term interactivity describes an active rela- tionship between at least two entities, which can be people or objects. », p. 302; « This interest in Interactivity interactive engagement with media content, as opposed to merely listening or watching passively, led to genres emphasizing the user’s role in the story (see interactive fiction, interactive narrative) », p. 303; « The academic literature distinguishes between three perspectives on interactivity: (1) as a formal property, (2) as a type of communication, and (3) as a cognitive process (McMillan and Downes 2000). », p. 303; « The first perspective positions interactivity as a formal property of a media technology, as “a measure of a media’s potential ability to let the user exert an influence on the content and/or form of the mediated communication” (Jensen and Toscan 1999, 59). The second perspective describes interactivity as a communica- tion process. The focus here is not on the analysis of technological characteristics, but on the study of interactivity as a form of information exchange between different actors. These actors can be (groups of ) people, but exchanges can also take place between humans and machines. From this perspective interactivity is a “cyclical process in which two actors alternately listen, think and speak” (Crawford 2002, 6). The third perspective describes interactivity as “an information-based process that takes place within the indi- vidual” (Newhagen 2004, 397). This viewpoint studies the effects of interactive commu- nication channels and emphasizes the perspective of the user. Interactivity then becomes a “function of both the inclusion of interactive tools as well as of the language used when offering that tool” (Lilleker and Malagon 2010, 27). », p. 303 |
| | *__Mots-clés__ : Narration Interactive, Interactivité, Fiction, Littérature, Récit, Narration |
| | *__En rapport avec les articles__ : CHARACTERISTICS OF DIGITAL MEDIA, INTERACTIVE CINEMA, INTERACTIVE DOCUMENTARY, INTERACTIVE DRAMA, INTERACTIVE FICTION, INTERACTIVE NARRATIVE, OLD MEDIA / NEW MEDIA, INTERACTIVE TELEVISION |
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| | * **Interface – THERRIEN, Carl, p. 305, 308 :** ★★☆ (T) |
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| | *__Synthèse__ : Assez pertinent, cet article examine la question de l’interface et peut donc être utilisé pour les questions tant d’expérientialité que de design, même si la question est traitée dans le domaine du jeu vidéo et non du livre numérique. Un rapide historique de l’interface est également pointé, ce qui peut autoriser quelques recherches ou comparaisons pertinentes pour le projet. La bibliographie, pertinente, a été ajoutée au projet. |
| | * __Extraits__ : « The term interface refers to the point and/or modalities of communication between two systems. In the study of human-computer interaction, it encompasses the physical means to provide input in a system as well as the feedback produced by the system. », p. 305; « When William Higinbotham created Tennis for Two at the Brookhaven National Lab- oratory in 1958, communication with computers still relied on punch card systems, switches, and knobs. Higinbotham and his team created the first dedicated video game controller: a digital button (a simple on/off variation on the circuit) to hit the ball, and an analog knob (a potentiometer allowing incremental alterations to the electrical current) to affect the angle of the hit. », p. 306; « The pursuit of symbiotic interaction has led to the creation of interfaces that involve the body more completely. In the context of the museum, pressure or optical sensors are a simple way for a computer to acknowledge the visitors’ movements and adjust audiovi- sual content in response (such as in Glowflow, Myron Krueger, Dan Sandin, Jerry Erd- man, and Richard Veneszky, 1969). », p. 307. « Manual interfaces such as the Nintendo Wiimote and the Sony Move represent the most recent incarnation of the natural interface ideal. », p. 308 |
| | *__Mots-clés__ : Expérientialité, Design, Interface, Jeu vidéo |
| | *__En rapport avec les articles__ : ANALOG VERSUS DIGITAL, AUGMENTED REALITY, AVATARS, CHATTERBOTS, DIGITAL INSTALLATION ART, GAMEPLAY |
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| | * **Linking Strategies – TOSCA, Susana Pajares, p. 316, 317 :** ★☆☆ (T) |
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| | *__Synthèse__ : Potentiellement utile pour l’expérientialité de l’hypertexte, ce cours article étudie les stratégies de liens hypertextes (micro et macro), les deux étant indépendants mais pouvant être distingués pour l’analyse (voir extrait). Les différentes études depuis le milieu des années 90 jusqu’au début des années 2000 sont abordées. |
| | * __Extraits__ : « A linking strategy is the conscious use of hypertextual links (see hypertextuality) in order to attain narrative and lyrical effects. There are two levels of linking strategy: the micro level, which occurs when going from one link to the next and in which the context is more limited, and the macro level, which refers to the more complex structures that all links of a hypertext are organized into. Both levels are dependent on each other but can be distinguished for the analysis. », p. 316; « In “The Structure of Hypertext Activity” (1996), Jim Rosenberg shows how we can understand the movement from individual links to a more holis- tic understanding of the work. », p. 317; « In “Patterns of Hypertext” (1998), Mark Bernstein defines different “links constructs” or strategies, which he illustrates with abundant examples. Frequently, a single hypertext will contain several of these patterns, or they will even be contained within each other. », p. 317 |
| | *__Mots-clés__ : Expérientialité, Hypertexte, Stratégie, Structure |
| | *__En rapport avec les articles__ : GRAPH THEORY, NETWORKING, NONLINEAR WRITING, INTERACTIVE NARRATIVE, HYPERTEXTUALITY |
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| | * **Location-Based Narrative – RUSTON, Scott, p. 318, 321 :** ★★☆ (T) |
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| | *__Synthèse__ : Considéré comme une forme de narration interactive (voir Interactive Narrative), les narrations fondées sur la localisation peuvent intéresser le projet pour leur dimension de portabilité rendue plus évidente. Un rapprochement est d’ailleurs fait avec la technologie du livre (voir extrait), rappelant l’usage que James Joyce faisait des rues de Dublin dans Ulysse. L’importance de l’arrivée de certaines nouvelles technologies (comme le GPS) est bien sûr étudiée – le projet Canadien « murmur » est notamment mentionné. Assez pertinent. |
| | * __Extraits__ : « This interaction might involve acquisition of narrative components through exploration and puzzle solving, resolving juxtapositions between real and fictional worlds, or simply accessing content cued by location markers. », p. 318; « By motivating user activity within a space and layering narrative content on top of physical space, location-based narratives can both reveal the layers of human experience that transform an abstract space into a place and contribute new experiences shaping the location into a place. », p. 318; « While various narrative forms have been portable for a long time (e.g., books), and certain stories have always been inextricably linked to their physical location (consider the June 16 Bloomsday walks in Dublin that take Joyce’s Ulysses to the streets), a conver- gence of technology and artistic trends occurred around the turn of the twenty-first cen- tury to establish the practice of location-based narrative. », p. 318; « In the short history of location-based narrative practice, three broad categories have been identified: spatial annotation, games, and mobile narrative experiences (see Ruston 2010). », p. 319; « The Canadian project [murmur], now in more than ten installations worldwide, is an excellent example of a spatial anno- tation that successfully unites a narrative component with the ubiquity and portability of the mobile phone. », p. 319 |
| | *__Mots-clés__ : Expérientialité, Location, GPS, RFID, Hypertexte, Stratégie, Structure |
| | *__En rapport avec les articles__ : INTERACTIVE NARRATIVE, COLLABORATIVE NARRATIVE, LUDUS AND PAIDIA, AUGMENTED REALITY, ALTERNATE REALITY GAMING, SPATIALITY OF DIGITAL MEDIA, HYPERTEXTUALITY |
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| | * **Materiality – MUNSTER, Anna, p. 327, 330 :** ★★★ (T) |
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| | *__Synthèse__ : Ce court article, très pertinent, examine entre autres la question de la matérialité comme approche intellectuelle à l’époque de la dématérialisation. Il examine notamment la question comme phénomène physique mais aussi comme condition d’organisation et de création – intéressant pour la question du design comme d’expérientialité donc. Les apports initiaux de Katherine Hayles sont pointés (le retour vers la matérialité), puis est examiné l’intérêt de la recherche de Matthew Fuller (dans sa dimension socio-politique), d’Anna Munster, de Frances Dyson et de Matthew Kirschenbaum (leurs sources ont été ajoutées à la recherche). |
| | * __Extraits__ : « (…) materiality is used in two main ways. It refers both to the physicality of hard-ware, software, digital objects, artifact, and processes and to the material conditions— including the social relations, political context, and aesthetic experience—of production of all “things” digital. », p. 328; « Katherine Hayles’s seminal text, How We Became Posthuman (1999), which argued that the broad development and spread of cybernetic theories and practices fundamentally divided information from materiality, in fact set the scene for the return of the material in digital media scholarship. », p. 328; « There are certainly overlapping concerns; for example, Matthew Fuller’s (2005) influential project for tracing the materialist energies at work in informational ecologies carefully draws out the ways in which the software and information embedded in an object mobilize sets of forces and relations that are also social and political. », p. 328; « Anna Munster provides a different approach to new media’s materiality by suggesting that digitality and corporeality should be understood as differential forces, across whose discontinuities and gaps a processual digital embodiment emerges and media materialize (Munster 2006, 142–149). », p. 329; « More recently, Frances Dyson has provided a “metadiscursive” analysis of the entwining of embodiment/disembodiment with materiality/immateriality in new media technologies. She argues that much rhetoric around new media’s propensities toward virtuality, transcending mediation, and materiality has borrowed from previous configurations of transmitted and reproduced audio, seen as immersive, in flux, and “liquid” (2009, 3). », p. 329; « Matthew Kirschenbaum’s exhortations to take better account of the place of fabrication and inscription processes and techniques in computational histories lead him to rethink the importance of hardware, specifically storage as a new media cat- egory, and to understand computational hardware’s role in situating just this or that prac- tice or behavior in the storing of information (2008, 10–11) », p. 329 |
| | *__Mots-clés__ : Expérientialité, Matérialité, Design, Stockage, Information, Cybernétique, Nouveaux médias, Corporalité, Incarnation, Matérialisation |
| | *__En rapport avec les articles__ : CYBERSPACE, CYBORDG AND POSTHUMAN, VIRTUAL BODIES, VIRTUAL REALITY, VIRTUALITY |
