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| livrenum:the_johns_hopkins_guide_to_digital_media [2017/07/13 11:53] – tom | livrenum:the_johns_hopkins_guide_to_digital_media [2018/02/15 13:57] (Version actuelle) – modification externe 127.0.0.1 |
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| *__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 | *__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 |
