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| livrenum:the_johns_hopkins_guide_to_digital_media [2017/07/14 10:26] – 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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| *__Mots-clés__ : Expérientialité, Hypertexte, Stratégie, Structure | *__Mots-clés__ : Expérientialité, Hypertexte, Stratégie, Structure |
| *__En rapport avec les articles__ : GRAPH THEORY, NETWORKING, NONLINEAR WRITING, INTERACTIVE NARRATIVE, HYPERTEXTUALITY | *__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 |
