Inventing the Medium: Principles of Interaction Design as a Cultural Practice
... Consequently, many conventions that are effective when creators determine when and what audiences read, see or hear (such as framing of shots in a movie or the placement of a section in novel) are no longer usable when the audience has decision-making power and can control their pace, view, perspective as well as their goal. As Janet Murray points out, "Design processes are often stalled by […] unproductive attempts to apply legacy conventions to new digital frameworks" [38]. IDN design therefore is a part of "inventing a medium," (the title of Murray's book) and this effort requires "inventing something for which there is no standard model, like word processing in the age of the typewriter, or video games in the age of pinball." ...
... The first issue is something the EU COST Action INDCOR is attempting to solve with its effort in creating an encyclopedia [49]. The second issue tempts narrative designers into falling back on design methods established in earlier media such as print literature and film-Murray's already mentioned "unproductive attempts to apply legacy conventions" [38]. This approach (e.g. ...
... The creation of such interactive narrative experiences is challenging, as new design methods have to be invented and successfully implemented. In addition, there is the danger Murray alerts us about [38] in failing to exploit the expressive potential of interactive media and thus creating unsatisfying products. Conversely, Murray regards the "invention and refinement" [38] of design building blocks as a focus area for research in digital media as an expressive practice. ...
A bstract
Interactive digital narratives (IDNs) create alternate realities using both fictional and non-fiction material. The interactive aspect of IDN turns audiences into participants and enables the exploration of alternative perspectives and actions within a single artifact. Such multifaceted representations make IDN a vehicle for representing complex issues, a crucial capability at a time when the limits of traditional narrative media to adequately represent complex issues such as climate change become apparent. Conversely, properly evaluated, generalized knowledge about how exactly IDNs engage and influence us and what this means for the design of such works is still scant and thus this topic needs scholarly attention. In this overview paper, we discuss the potential of IDN, but also the difficulties of realizing this potential in terms of design and of verifying the effectiveness through empirical research methods. The potential of IDN as dynamic, participatory, and encyclopedic artifacts can be clearly expressed, yet the same cannot be said when it comes to the design and especially the evaluation of intended prosocial effects, the topic this paper is focused on. We start by identifying the problem of IDN design resulting from a combination of the lack of generalized knowledge and formal professional training. Then, we discuss the challenge of measuring the effectiveness of IDN design for prosocial effects and report on several case studies. In this context, we discuss methodological issues and advocate for best practices. Finally, we consider future steps in addressing the continuing challenge of evaluating IDNs.
... The content is a modification of the five-phase packaging design process (Klimchuk & Krasovec, 2013) to accommodate additional content on interaction design using augmented reality technology. The content includes an overview of the technology and industry application, technical reference for development and optimization, and spatial design considerations for multiple spaces, real and virtual, and multiple layers of information (Murray, 2012). Students were encouraged to examine the role of memory in relation to designing AR places, even though most of them are abstract, as we associate them with things that happened there, to ourselves, and to others, now, and in the past (Murray, 2012). ...
... The content includes an overview of the technology and industry application, technical reference for development and optimization, and spatial design considerations for multiple spaces, real and virtual, and multiple layers of information (Murray, 2012). Students were encouraged to examine the role of memory in relation to designing AR places, even though most of them are abstract, as we associate them with things that happened there, to ourselves, and to others, now, and in the past (Murray, 2012). ...
... While many of those activities were visual design methods such as moodboarding (Figure 3), or sketching (Figure 4), others were particular to interaction design. First essential activity was the reframing of familiar activities, such as rethinking the context in which they can be performed, in this case, the act of consuming beverages and the act of storytelling using new technology (Murray, 2012). Providing students with time and space to learn and tinker on their own is another key activity (Resnick & Rosebaum, 2013). ...
... The content is a modification of the five-phase packaging design process (Klimchuk & Krasovec, 2013) to accommodate additional content on interaction design using augmented reality technology. The content includes an overview of the technology and industry application, technical reference for development and optimization, and spatial design considerations for multiple spaces, real and virtual, and multiple layers of information (Murray, 2012). Students were encouraged to examine the role of memory in relation to designing AR places, even though most of them are abstract, as we associate them with things that happened there, to ourselves, and to others, now, and in the past (Murray, 2012). ...
... The content includes an overview of the technology and industry application, technical reference for development and optimization, and spatial design considerations for multiple spaces, real and virtual, and multiple layers of information (Murray, 2012). Students were encouraged to examine the role of memory in relation to designing AR places, even though most of them are abstract, as we associate them with things that happened there, to ourselves, and to others, now, and in the past (Murray, 2012). ...
... While many of those activities were visual design methods such as moodboarding (Figure 3), or sketching (Figure 4), others were particular to interaction design. First essential activity was the reframing of familiar activities, such as rethinking the context in which they can be performed, in this case, the act of consuming beverages and the act of storytelling using new technology (Murray, 2012). Providing students with time and space to learn and tinker on their own is another key activity (Resnick & Rosebaum, 2013). ...
... The content is a modification of the five-phase packaging design process (Klimchuk & Krasovec, 2013) to accommodate additional content on interaction design using augmented reality technology. The content includes an overview of the technology and industry application, technical reference for development and optimization, and spatial design considerations for multiple spaces, real and virtual, and multiple layers of information (Murray, 2012). Students were encouraged to examine the role of memory in relation to designing AR places, even though most of them are abstract, as we associate them with things that happened there, to ourselves, and to others, now, and in the past (Murray, 2012). ...
... The content includes an overview of the technology and industry application, technical reference for development and optimization, and spatial design considerations for multiple spaces, real and virtual, and multiple layers of information (Murray, 2012). Students were encouraged to examine the role of memory in relation to designing AR places, even though most of them are abstract, as we associate them with things that happened there, to ourselves, and to others, now, and in the past (Murray, 2012). ...
... While many of those activities were visual design methods such as moodboarding (Figure 3), or sketching (Figure 4), others were particular to interaction design. First essential activity was the reframing of familiar activities, such as rethinking the context in which they can be performed, in this case, the act of consuming beverages and the act of storytelling using new technology (Murray, 2012). Providing students with time and space to learn and tinker on their own is another key activity (Resnick & Rosebaum, 2013). ...
... In her work on the affordances of digital environments, Murray [11] identifies spatiality, and describes it as the power to represent navigable, enactable and traversable spaces. Linear media such as books and films can show a space through verbal description or image, but only digital environments can present a space through which we can move or perform spatially. ...
... As a research path, we started from the existing theoretical proposals or classifications [11] [19], as well as from a taxonomy developed by the authors in a previous exploratory study [31], in order to serve as a guide to orient, delimit and frame our object of study. First, we proposed an exploratory participant observation with a double objective: i. to empirically test its functioning and serve as a basis for inquiry and ii. to detect the existence of limitations or relevant dimensions of spatiality that we believe can be more deeply investigated. ...
... Regarding the previous taxonomy developed, we started from the concept of affordance proposed by Murray [11] and the four properties that she points out about the digital medium. As a main contribution, we added a fifth property which we addressed deeply (social-emergence affordances). ...
While spatiality in desktop and console interface video games has been widely studied, not many approaches have been made in the context of mobile augmented reality (MAR), an environment from which popular games such as Pokemon Go have emerged. On the one hand, this paper retakes the notion of spatial affordance that Janet Murray introduced for digital environments and proposes a reinterpretation of the concept throughout the integration of the MAR features. On the other, it seeks to approach the impact that these characteristics have on the gameplay experience. For this purpose, 46 mobile augmented reality video games of different genres were analyzed. The study reveals that augmented reality is still a superfluous element rather than a central aspect of the gameplay in most MAR video games, although trends involving new hybrid game experiences have been observed. Finally, we propose a tool for classifying MAR video games according to two axes that assess up to what extent physical space is integrated into the gameplay: gameworld spaces (representational layer) and gameplay spaces (interactive layer, interaction with the game rules and mechanics).
... Suas possibilidades de navegação em diferentes sentidos simulam a existência de espaços já explorados e ainda não explorados, mesmo que não visíveis em um dado momento. Espacialidade complementada por seu potencial enciclopédico, que deriva não apenas da vasta quantidade de informação disponível no meio, mas sobretudo pelas suas múltiplas possibilidades de rearranjo, categorização e referenciação (MURRAY 2003(MURRAY , 2012. ...
... Suas possibilidades de navegação em diferentes sentidos simulam a existência de espaços já explorados e ainda não explorados, mesmo que não visíveis em um dado momento. Espacialidade complementada por seu potencial enciclopédico, que deriva não apenas da vasta quantidade de informação disponível no meio, mas sobretudo pelas suas múltiplas possibilidades de rearranjo, categorização e referenciação (MURRAY 2003(MURRAY , 2012. ...
... O refinamento dessas potencialidades, prossegue Murray, resulta em técnicas de design próprias, que vão se estabelecendo como convenções progressivamente reconhecíveis pelos(as) interatores(as) 1 dos artefatos digitais (MURRAY 2012). No caso dos jogos digitais, eles possibilitariam ainda a elaboração de narrativas que exploram sentidos ausentes em outros meios: a imersão, a agência e a transformação. ...
Esta pesquisa aborda as representações do passado e do tempo histórico em jogos digitais, considerando a série de jogos Sid Meier’s Civilization e narrativas sobre esses jogos elaboradas por seus(suas) jogadores(as). A partir de uma perspectiva que conjuga a teoria da história e da consciência histórica com o campo dos estudos sobre jogos, é apresentada uma análise da estrutura procedimental dos primeiros cinco títulos principais da série, de forma a ressaltar os pressupostos subjacentes à maneira pela qual esses jogos simulam processos históricos-sociais. Uma vez identificados os principais eixos procedimentais que estruturam os jogos da série, é realizada uma abordagem qualitativa de um conjunto de produções de jogadores(as) desses jogos compartilhadas publicamente no site CivFanatics Forums, destacando as formas pelas quais os(as) jogadores(as) mobilizam sua imaginação histórica em diálogo com os jogos. Por fim, a comparação entre as narrativas dos(as) jogadores(as) e a procedimentalidade dos jogos possibilita uma série de apontamentos sobre a sensibilidade histórica de jogadores(as) diante desses jogos de estratégia com temática histórica.
... Children can engage either as "consumers" of digital stories or can act as "creators" of interactive digital stories (Garzotto, 2014). Focusing on interaction, and especially in interactive digital stories, it is pointed out that, the user interacts with the system: (a) at the level of a virtual environment, where the system -through protagonists of the stories and digital illustration-will have to show that the player's contribution has been understood, and (b) at a higher level of storytelling, where user actions must essentially affect the development of the story (Murray, 2011). In the field of interactive digital narratives, Koenitz (2023) distinguishes between two kinds of interactions within an interactive digital story, namely "Interactivity 1" and "Interactivity 2". ...
... Children who would experience more curiosity regarding the innovative elements and the elements of surprise would be exposed to more interactive elements of the story (hot spots of words and pictures) and more choices in the development of the plot, for example, themselves as protagonists of the story (avatars) or as directors of the story's plot development by being curious about the outcome of their choices. After all, interactions with an interactive digital story are traditionally considered meaningful when they have an impact on the development of the story when the interactor is afforded "dramatic agency" (Murray, 2011). Dramatic agency is the ability to make 'meaningful choices' and see their effects (Kolhoff & Nack, 2019;Roth & Koenitz, 2019). ...
p style="text-align:justify">Given curiosity’s fundamental role in motivation and learning and considering the widespread use of digital stories as educational tools from the preschool age, we pursued measuring preschoolers’ curiosity when interacting with digital stories. Using 129 toddlers and preschoolers as a sample, three groups (one for each class) were given different versions of the same digital story to listen to: interactive, non-interactive, and animated. Toddlers' verbal and nonverbal behaviors were utilized to quantify curiosity as a condition brought on by the app. The participants' verbal and nonverbal behaviors were recorded during the digital reading aloud. Every child's data was encoded at one-minute intervals to examine concurrent behavior, and the results were then compiled. The findings show that interactive presentation formats encourage more touching and language use but less noise production and that interaction and the creative use of hot spots in digital illustrations are key elements in piquing viewers' curiosity while contributing to the strengthening of the engagement to the activity and the cultivation of critical thinking, creativity, and imagination.</p
... The emerging development, therefore, shows how media technology is shaping and reshaping spaces (McQuire, 2016). This implies a need to reflect on the shaping and how it can be turned into possibilities (Murray, 2012). Our perspective aligns with this, emphasising that a deeper understanding of media technologies can broaden narratives, introduce novel experiences, and foster inclusivity and sustainability. ...
... The analysis from our fieldwork constituted new perspectives for further development, and the critical geomedia lens provided central aspects of representation when conducting the workshops. So, the results from the initial in-depth studies of each case gave us multiple perspectives (Murray, 2012) to include in the design processes, where theoretical perspectives, research results, and participants' knowledge were mobilised (see further in Ryan Bengtsson et al., 2022). This shows how our focus on representation exemplifies and captures part of the process and part of all the results that the process has produced. ...
p>This article draws on five participatory action research studies, to address how geomedia theory can induce multiple imaginations of the future. Critical future research advocates that societies need to collectively create visions of multiple futures, transcending the single rational (neoliberal) future path. The studies were conducted in collaboration with rural communities and local tourism entrepreneurs exploring geomedia technologies for destination development. The tourism sector uses geomedia technologies but is often dependent on commercial platforms that seek upscaling and generalisation, becoming detached from local practices and place-specific settings. By applying critical geomedia studies, we problematised the relationship between people, place, and technology, in the present, the past, and the future. Geomedia studies, therefore, provided a critical lens that provoked future visions beyond preformatted technological infrastructures and media practices. The participants were asked to engage with complex issues such as access, restrictions, equality, authority, and legitimacy in relation to the specific place, bringing forth a multitude of local assets and narratives envisioning alternative geomedia technologies. In the aftermath of the process, participants have paid greater attention to local assets, gained an increased critical approach towards technology as well as daring to use digital solutions in a more visionary manner. We therefore argue that researchers need to engage with society to bypass hegemonic geomedia representations. By providing tools and methods to address obstacles and challenges for community development, we establish a framework for how collaborative research can more explicitly engage with local actors' thoughts and imaginings of possible futures.</p
... 1. Multimedia Integration: Combining various media forms such as text, images, audio, and video to create a cohesive narrative. This technique enhances the storytelling experience by leveraging the strengths of different media (Murray, 2011). ...
This paper examines the role of digital storytelling in health advertising within Nigeria, focusing on how this narrative technique influences public health awareness and behaviour. Utilizing a mixed-methods approach to analyze various health advertisements across digital platforms, evaluating their effectiveness in engaging audiences and conveying critical health messages. The study explores the elements of digital storytelling such as narrative structure, visual content, and interactivity and their impact on audience perception and engagement. Findings suggest that digital storytelling significantly enhances the relatability and memorability of health messages, leading to increased awareness and behavioural change. The paper also discusses the challenges and opportunities faced by health advertisers in Nigeria's digital landscape, providing insights into best practices for crafting compelling health campaigns. The study also selected a few notable case studies of digital health campaigns that have utilized digital storytelling effectively to provide detailed examples of successful digital health advertising campaigns in Nigeria.
... Although other media, such as film or literature, have already established such a projection, video games differ in their need to be acted upon. Code performs in relation to player participation and the text emerges only in a constructive collaboration of such shared agency (Murray, 2012). This first section builds on the effects that such agency and enactment have and draws parallels to traditional crafting approaches to connect play and making. ...
... The Star Trek Holodeck shows; it does not invite the audience to participate in an interactive experience partially of their own shaping. Indeed, the difference between interactive and non-interactive forms has been widely discussed (Aylett, 2000;Bolter, 1991;Joyce, 1995;Koenitz, 2015Koenitz, , 2023Laurel, 1986Laurel, , 1991Louchart & Aylett, 2004;Montfort, 2005;Murray, 1997Murray, , 2011). Yet this awareness so far has hardly entered scholarly output, which for the most part has been unchanged for decades-the proceedings paper, the journal article, the edited volume, and the monograph, with few exceptions (e.g. a separate playable part of an otherwise static essay (Juul, 2021)), stay non-interactive even if they have moved from printed form to the web. ...
Scholarly work on Interactive Digital Narrative (IDN) has long been communicated using the non-interactive format of the academic paper. Yet, when we only tell or show, we do not interact, which means that we lose the most important aspect of IDN–the interactive experience. In this article, we consider the limitations of traditional scholarly representations when it comes to IDN and demonstrate a novel format which includes interactive artifacts within the article, a move we consider as a crucial step for advancing IDN scholarship.
... In India, the scope, issues and challenges in conceptualizing a comprehensive cultural heritage information system (CHIS) and examines the feasibility of designing such a system with the support of advanced conservation strategies and technological aids was discussed by Gireesh Kumat T.K. & Raman Nair R. (2021). Developing comprehensive Indian cultural heritage information system is essential to identify the potential benefits of displaying and providing cultural heritage in a digital medium, allowing for different interactions with physical objects (Murray, 2011). The proposed cultural heritage information system (CHIS) should facilitate the machine-user interaction to support effective searching to bring the unseen aspects of cultural inheritances easily. ...
The transformation from conventional archival practices to the digitization of documentary heritage collections represents a pivotal undertaking in the safeguarding and facilitation of access to historical and cultural materials in the digital era. Digitization helps preserve precious materials, making high-quality digital images available electronically. In the context of this paper, manuscripts are categorized as valuable assets and historical documentary heritage and will be discussed in detail. The underpinning of this thematic review paper is to identify the issues that have been discussed in the digitization of documentary heritage publications from the years 2010-2021 using ATLAS.ti 8. A keyword search, followed by a filter using inclusion criteria from SCOPUS, Web of Science and Mendeley databases, identified 424 peer-reviewed journal articles and, after the inclusion and exclusion process, only 28 articles were used as the final articles to be reviewed. Findings show four distinct categories: collaboration and participation; disaster preparedness; crowdsourcing; and cultural heritage information system.
... For this to occur, Murray argues that the user needs to recognise 'mental models' based on the appearance and behaviour of the objects they know and handle on a daily basis. These mental models can be derived from existing conventions or past experiences [4]. The author draws on Donald A. Norman's 'conceptual models' idea. ...
In contemporary drawing there is a digital dimension that cannot be ignored. The purpose of this chapter is to consider, very brie y, some of the di erent processes through which this digital dimension has manifested itself in autonomous drawing. For that, we wi compare the di erences between digital remediation of traditional processes and natively digital processes. It seems to us particularly signi cant to, on one hand, distinguish them, but also to understand how they may, currently, lean towards hybridisation.
... As computation becomes media, or media become computational, they are expanded by new affordances. As Janet Murray (2012) pointed out in her early analysis of this phenomenon, media become procedural, and because of this they also become participatory, spatial, and encyclopaedic. ...
Throughout our history as communicative beings, we sought permanence from media that we used to store information, communicate, and help us deal with the ever-changing world. For the longest time, analogue media carried out these tasks despite their slow, but inevitable, processes of physical decay, but nowadays, computational technologies are generally proposed as fast, cheap, and convenient alternatives to the limitations of analogue technologies. This paper argues that regardless of how computational technologies are perceived as upgraded versions of the analogue media forms that preceded them, their effectiveness as media is limited because computational forms are anything but permanent. We claim that it is our refusal, and our fear, of impermanence that drives the desire to construct a worldview that is biased for permanence, even when the opposite lies before our eyes, as happens with computational media forms. This leads to a dissonance between the world as it is and the world as we perceive it, and to a paradox at the heart of computational media forms. This dissonance limits our relationships with these media, our literacy, and the ways how we can develop meaning and nurture creative relationships with them.
... A lógica participativa do meio digital (Murray, 2012), viabilizada pelas interfaces cognitivas (Rocha, 2009) dos atuais gadgets, vem, como já destacado, promovendo mudanças no objeto livresco digital e, consequentemente, nas experiências por este promovida. ...
... An IDN is construed as an interactive narrative artefact specifically crafted for engagement by the end-user called interactor (Murray, 2011), for whom it is meticulously designed to elicit interaction and through this interaction gain insights in complex issues. The authoring of an Interactive Digital Narrative (IDN) can be considered a design process, as it is a creative process considering goals and constraints that result in a product, the narrative engine, which addresses aesthetic, functional, economic, or socio-political considerations that help the audience to get a better understanding of complex issues (Dorst & Dijkhuis, 1995). ...
Interactive Digital Narratives (IDNs) is an interdisciplinary research area related mainly to Narrative Studies,
Design, Human-Computer Interaction, and Gaming. In this field, empirical investigations on using Artificial
Intelligence (AI) support systems for creating IDNs are growing, demonstrating the value of exploring their
potential. However, a systematic categorization of AI support system features and key elements is missing. This
paper addresses this gap by presenting an analytical framework to describe and map such systems. The analytical
framework is the result of multimethod qualitative approach, that combines mainly case study analysis with
interviews. A total of 60 empirical investigations retrieved through academic and grey literature have been
collected and analyzed, enabling to identify: AI support systems’ types (AI-based Creative Support Tools, AI
Authoring Systems, and AI Support Systems for Interactive Digital Narratives) and categories (AI system structure,
Creativity, Interaction, and Narratives). A cross-case analysis of seven selected exemplary cases of the type AI
Support Systems for Interactive Digital Narratives reveals needs, challenges, and research opportunities to fulfil.
The main contribution of the framework for researchers, practitioners, and designers is its use as an analytical
and generative tool to acknowledge existing and future AI support systems for creating IDNs.
... In this case, authoring tools are utilised to create IDNs, a more complex narration form due to the interaction component. The medium or affordances determine the interaction, which leads to programmed actions [11,29]. In this instance, the AI system is the media seen as a means of knowledge; it organises knowledge to share with the user and helps them create techniques for problem-solving [37]. ...
The interactive digital narrative (IDN) is an interdisciplinary field connected to narrative studies, design, human-computer interaction, and gaming. In this contribution, IDN is investigated from the designer’s perspective; it deals with the use of prolific artificial intelligence (AI) support systems in this area, highlighting the need to examine their potential. However, the features and essential components of the AI support system are not systematically categorised. This paper fills the aforementioned gap by providing a literature review of twenty academic contributions that make it possible to identify the types and categories of AI support systems, narrative elements, and types of creativity. The study is conducted keeping at the centre the relationship of collaboration between the human and the AI system concerning the production of narratives. As the main contribution to knowledge, the literature review identifies the problems and the gaps and underlines future research directions.
... Janet Murray in her seminal work Inventing the Medium identified the four affordances of digital environments to be -procedural, participatory, spatial, and encyclopedic. (Murray, 2012) The extent to which they exhibit these properties is what makes digital media interactive, responsive, experiential and immersive. ...
... Campus art has a wider humanistic dimension, and its connection depends on the appreciation and acceptance of students from different cultural backgrounds and different eras. Campus art design promotes the development of campus culture by considering the aesthetic needs of the masses and improving their aesthetic level (Murray, 2011). ...
Painting as an art form has the potential to evoke positive emotions and enhance students' well-being. Integrating it into campus art can improve public spaces and cultivate happiness among students. The study aims to explore sketch art's impact on students' happiness and propose adaptable design principles for 3D art on campus. Results indicate artists can effectively use cognitive and visual aspects to create exceptional artworks that harmonize with the campus environment, ultimately elevating student happiness. Further research is recommended to explore how campus art promotes public space development, enhances campus culture, and stimulates student happiness, providing valuable guidance to artists for creating high-quality campus art.
... Children's books that combine both text and imagery can be considered multimedia artefacts (Murray 2012). Golden (1990) suggested that in picture books, it is either the text or the images that drive the primary narrative, with the other supporting, illustrating or elaborating this narrative. ...
The use of augmented reality (AR) in literature has predominantly focused on providing instructional tools for educators and learners, emphasizing its capacity of enhancing engagement and supporting immersive learning. Aside from its central literacy purpose, AR in children’s literature appears in the form of digital pop-up books or as add-on games, which are usually located outside of the main narrative. In this sense, AR risks disrupting the flow of a story instead of enriching the continuous imaginative space of the narrative. The Dragon Defenders series, by James Russell, uses AR as a narrative tool in ways previously unseen in children’s literature. Russell puts the reader into the shoes of his main characters, Paddy and Flynn, using AR to show the reader what the boys themselves see. There are moments in these books where the AR system and traditional narrative system fully overlap, integrate and enhance the narrative dimension of the story. While readers navigate through the book by turning physical pages, the addition of AR at specific moments in the story not only provides a more immersive reading experience but, in this case, advances the narrative to great effect. This case study asks how AR can be used to enhance the narrative structure and flow in a text-based novel, using formal gameplay analysis to examine how the AR and narrative systems interact and identifying which examples of this interaction work to the best effect. It analyses the AR moments in the context of the book, deconstructs the unusual first-person perspective from the protagonist’s point of view and explores how these AR experiences help drive and truly augment the core narrative. The larger context of this study seeks to emancipate AR from its predominantly technological ontology and contribute to the development of AR as a genuine narrative device in fiction storytelling.
... The non-trivial effort (Aarseth, 1997) exerted by players to influence the game and to experience a sense of agency (J. Murray, 2012), evidence them as action-based media (Galloway, 2006), in which without action there is no game (Lankoski & Heliö, 2002). Action is the drive for player experience and for the construction of meaning (Cardoso et al., 2019). ...
Neurocognitive rehabilitation continues to face difficult challenges related to patient and institutional characteristics. This reality requires innovative solutions to increase patient motivation and involvement in the process, turning rehabilitation more meaningful and pleasurable, as well as to help therapists overcome difficulties such as the absence of material and human resources. Innovative rehabilitation techniques have the potential to create motivating, personalized, and ecologically valid tasks. In this chapter, the authors describe the reality of neurocognitive rehabilitation in acquired brain injury and present the advantages and potential of digital information and communication technologies, especially serious games and gamification. Distinctive elements of these solutions and a reflection on the evolution of this area are presented. In order to establish evidence-based practices, it will be necessary demonstrate unequivocally the development of competences by the patients, supported by these new solutions, and its generalization to real-life activities in future research.
... It is procedural and participatory, creating the experience of agency by offering interactors control over which incident is displayed and what angle they view it from. It is immersive in its attempt to provide detailed "encyclopedic" layers of information about this sequence of events, and most of all it is spatial in its linking access to the history to navigation of the space, turning the present day actual EcoCommons into an "information repository and/or a virtual place" (Murray, 2011b). Based on this framework, certain design questions were proposed to aid in the design process, such as how should we organize historical materials to help the users comprehend the causality of Pickrick events? ...
The Pickrick Protests is a project exploring the use of Augmented Reality (AR) to recreate a sequence of Civil Rights era incidents that occurred at the Pickrick restaurant, in Atlanta, over a period of 8 months in 1964-5. This project gives a connected and chronological narrative of the historic events to form a cohesive experience, with AR projections of computer graphic depictions of the 1960s buildings, and events on the site where they happened. The objective of this project is to make the history of the Civil Rights Movement visible by privileging the perspective of the African Americans who fought for equality. This article focuses on introducing the narrative design for this location-based AR application. We will discuss our approach to creating a meaningful narrative within the technical affordances and environmental constraints of the AR medium and the specific location. The design challenges posed by this project were how to merge the virtual content with the existing albeit changed physical space; how to re-center the story on the activists rather than on the segregationist restaurant owner who went on to become a governor of Georgia; and how to direct attention in AR in order to allow interactors to follow a multi-episode narrative, and to focus on the non-violent activists rather than the aggressive segregationists.
... In the participatory framing of the virtual world, the patterns of readings also echo the user's attempts to reconstruct the past as pieces of information experienced through the character and processed to restore lost coherence. Through a blend of reality and fantasy through technology, these emerging forms of expression are set as a guide to how storytelling is shifting to new forms of cultural liberation [27]. ...
Despite its apparent lack of physicality, the virtual environment produces real experiences to its users. In its intangible context of digital operation, the virtual setting can be a meeting point for individuals to interact and to gain experiences that have an impact upon their lives. After more than three decades of broad accessibility and use of the internet and various digital platforms, the virtual experience has also prompted to rethink many of the assumptions commonly attributed to physical space. From a practical point, the virtual world has been an extension of the real one as a new site that can host people’s activities without many of the limitations associated with the material world. Given its absence of physical restrictions, the virtual space appears as a boundless one, whose potential of evolution is still unclear. This sense of limitedness has caused to shift our common sense about physical space as well, including architectural perception and the methods and practices applied to design it. In response, this present study focuses on the ways in which elements and concepts of the virtual world may be transferred to physical space and enrich architectural aims and the broader design discourse.
Espen Aarseth 2007-es tanulmányában hívta fel a figyelmet a videójátékok alkotóelemeinek ontológiai heterogeitására. Tanulmányomban Aarseth szövegével szeretnék párbeszédbe lépni és reflektálni az általa alkotott modellre, amely szerint megkülönbözthetünk valódi, szimulált és fikcionális játéktárgyakat. Azokat a kérdéseket vizsgálom, hogy van-e értelme megkülönböztetni valós tárgyak fikcionális és faktuális játékbeli reprezentációját, illetve, hogy a realisztikus ábrázolásmódra törekvő kortárs játékok működésmódja kapcsán mennyiben releváns barthes-i értelemben vett valósághatásról beszélni. Az első felvetést illetően álláspontom szerint ez a fogalompár nem ideális a videójátéknak nevezett komplex szoftverek bizonyos nem narratív működésmódjaink a megragadására, és nem visz minket közelebb az egyes játékelemek különbségének, a játékban való funkcionálásuk mikéntjének a megértéséhez. Saját modellemben a hangsúlyt a szimuláció komplexitására, annak dinamikus (eszközszerű), valamint ábrázoló (jelszerű) aspektusainak megkülönböztetésére helyezem. E kettősség kapcsán világítok rá a valósághatás fogalmának korlátolt alkalmazhatóságára, amennyiben a szimuláció modellszerű működése nem pusztán reprezentáció, hanem - bár virtuális, de - tényleges történések és események rendszereként fogható fel, amely során a valóság érzéki vagy intellektuális hatása valós, jelen idejű folyamatokkal szorosan összefonódva jön létre.
O artigo discute o conceito de dispositivo, tendo por base as concepções de Foucault e Agamben, seguindo a Filosofia da Tecnologia, desde Heidegger e Feenberg até as concepções de Don Ihde, em articulação com a arte tecnológica. De orientação analítica, o texto conclui que a arte tecnológica é, per si, ontologicamente vinculada à concepção de dispositivo, em seu alinhamento com a Filosofia da Tecnologia.
Dalam era digital yang terus berkembang pesat, kemampuan untuk merancang dan
mengembangkan media interaktif telah menjadi keterampilan yang sangat penting dan dicari di
berbagai industri. Mata kuliah Desain Media Interaktif ini dirancang untuk membekali Anda
dengan pengetahuan, keterampilan, dan alat yang diperlukan untuk menjadi seorang desainer
media interaktif yang kompeten dan inovatif.
Bahan ajar ini akan membawa Anda melalui perjalanan yang menantang namun menyenangkan,
mulai dari konsep dasar interaksi manusia-komputer hingga implementasi proyek media
interaktif yang kompleks. Sepanjang perjalanan ini, Anda akan:
1. Mempelajari prinsip-prinsip dasar desain interaksi dan pengalaman pengguna (UX).
2. Mengeksplorasi berbagai jenis media interaktif, termasuk website, aplikasi mobile, game,
dan realitas virtual/augmented.
3. Menguasai alat-alat dan teknologi terkini yang digunakan dalam industri.
4. Mengembangkan keterampilan berpikir kritis dan pemecahan masalah melalui studi
kasus dan proyek praktis.
5. Memahami aspek etika dan aksesibilitas dalam desain media interaktif.
Bahan ajar ini disusun dengan pendekatan yang seimbang antara teori dan praktik. Setiap bab
akan dimulai dengan konsep-konsep penting, diikuti oleh contoh-contoh dari dunia nyata, latihan
praktis, dan proyek-proyek yang menantang kreativitas Anda.
A presente dissertação se insere no campo da Comunicação, tendo como foco a análise do jogo Undertale, desenvolvido de maneira independente por Toby Fox e lançado em 2015. O trabalho busca compreender de que forma o jogo utiliza de uma narrativa metaficcional para criar um percurso poético e retórico que argumenta a favor da gentileza, da resolução pacífica de conflitos e da empatia, argumentando que através de sua gramática interna e relação com o real é construída uma obra que aponta para a própria interação entre pessoa jogadora e a história do jogo. Para tanto, inicialmente é apresentada uma pesquisa no formato de estado da arte, focada em trabalhos do tipo dissertação e tese e com recorte nos últimos cinco anos a partir do banco de dados da Biblioteca Digital Brasileira de Teses e Dissertações do Instituto Brasileiro de Informação em Ciência e Tecnologia, além de fazer um levantamento de trabalhos que tenham sinergia com este por tratarem de Undertale. Em seguida, tratamos do fenômeno cultural ao redor do jogo e porque ele se apresenta como um divisor de águas na cultura dos jogos independentes. Também discutimos conceitos importantes para definir Undertale como jogo empático e narrativa metaficcional, apoiando-se principalmente nos trabalhos de Jesper Juul (2019), Janet Murray (2017) e Brian Upton (2015) para discutir as relações entre jogos e narrativas digitais e Lee & Kim (2020) para definir a metaficção nos jogos. Por fim, realizamos uma análise baseada no modelo trifásico de Petry et al. (2013), focando nos procedimentos de estudar o contexto e jogar o próprio jogo, buscando identificar em que momentos os esquemas metaficcionais são aplicados como estratégia narrativa. Em seguida, discutimos os usos que Undertale faz desses momentos para contar a sua história e reforçar sua mensagem sobre empatia e gentileza, dividindo a análise em quatro classificações gerais dessas aplicações.
El presente estudio analiza dos obras ecuatorianas de ciencia ficción que exploran futuros tecnológicos en los Andes. Por un lado, Ángelus Hostis es una novela gráfica cyberpunk que imagina un Ecuador en 2120 con energía de fusión nuclear y una sociedad controlada por una red digital omnipresente. Por otro lado, Andean Sky es un webcómic que se centra en la migración y presenta tecnologías aéreas y de la construcción futuristas en el desarrollo de la trama. Ambas obras abordan temas como el poder, el control, la naturaleza humana y los conflictos sociales en un contexto de desarrollo tecnológico, y ofrecen una reflexión crítica sobre el futuro tecnológico de Latinoamérica y la influencia de la ciencia ficción en la región andina.
Bilgi ve iletişim teknolojilerinde yaşanan gelişmeler medya araçlarını önemli ölçüde etkilemiştir. Tarihte baskının icadı yazının dağılmasını, fotoğrafın icadı resim sanatını, yaşadığımız çağda bilgisayar gibi iletişim teknolojilerinin gelişmesi ise iletişimi etkilemiştir. Baskının icadı yazının sadece dağıtımını etkilerken, bilgisayarın icadı iletişimin bütün boyutlarını yani hem medyanın elde edilmesini, depolanmasını, düzenlenmesini hem de yayınlanması ile sinema, gazete, televizyon, radyo gibi tüm medya tiplerini de etkilemiştir (Manovich, 2001, s. 20). Bu durum, bilgi ve iletişim teknolojilerinde yaşanan gelişmelerin etkisinin daha önceki gelişmelerden daha kapsamlı olduğunu bize gösterir. Medya tipleri ve boyutunu tamamen etkileyen, bunların hepsini birleştiren ve bilgisayarda üretilir, depolanır ve gösterilir kılan bu teknolojik gelişmelerin sonucu yeni bir olgu olan “yeni medya” kavramı literatüre girmiştir. Günümüzde iletişim alanında önemli bir yere sahip olan ve resim, sinema, edebiyat gibi birçok sanat dalı üzerinde de etkisini göz ardı edemeyeceğimiz “yeni medya” önemli bir çalışma konusudur. Bu makalede de yeni medya kavramı, özellikleri, ilkeleri, farklılıkları açıklanmış, daha sonra yeni medya kavramı ekseninde sanat ve estetik konusuna değinilmiştir.
Neste artigo são disponibilizados projetos do Laboratório de Dramaturgia da Universidade que foram propostos para vários órgãos de financiamento de pesquisa e que foram aprovados. Tais projetos foram o fundamento conceptual para diversos processos criativos, artigos e livros.
New platforms for information: Choreographies to tell the news on TikTok
Los medios de comunicación que usan plataformas como TikTok corren el riesgo de distorsionar la percepción de su profesión. Al actuar como "showman" y crear personajes exagerados para ganar "likes", los periodistas corren el riesgo de dañar su credibilidad. Los medios de comunicación desarrollan estrategias basadas en el humor y el espectáculo en TikTok para interactuar con la audiencia y eso tiene un efecto en la manera de lograr el reconocimiento profesional tradicional.
This paper presents an evaluation of a potential new interaction mode in virtual reality (VR) to determine whether it provides any positive impact in terms of how users interact with content. We evaluated the user experiences for 3D object manipulation across three modes of interaction. Interaction using controllers and gestures are used as baselines from which to gauge the potential value of the new mode of interaction, where a single controller and gestures are combined. This paper reports on a user study that captures quantitative and qualitative data related to a variety of object manipulation tasks in a Virtual Environment (VE). We investigated the impact of this new interaction mode with 40 participants across a number of interaction tasks, with the quantitative evaluation indicating that generally, the mixed mode of interaction resulted in task completion times consistently faster than gesture-based interaction and, in some cases, faster than with the use of controllers alone. A qualitative evaluation of the user experience indicated potential application areas for the new mode of interaction.
The concept of virtual reality (VR), perceived as a copy of physical reality, restricts both the creators and users of the space, leaving no room for potential surreal experiences. The main motivation for conducting the research on virtual surreal space is to open up creative/productive spatial possibilities for discussion from a thought perspective that goes beyond this definition. Although there are various approaches to digital space in the literature, these studies mostly rely on computational methods. In contrast, this study aims to explore space from the perspective of "digital surrealism" which is ignored in spatial studies, through the computer-based gaming experience. Scholars writing about architecture and surrealism have argued that, unlike other forms of fine art, architecture was never an integral part of surrealism. Against this perspective of the digital game experience, the study aims to question whether it is possible to interpret the space with a surreal perspective and to investigate whether the space can approach surrealist thought with the digital game experience fed by computational methods that support the concepts of 'autonomy' and 'ubiquity'. The main goal of the study is to explore the relations between surrealism and architecture and the spatial potential of these relations through the experiences of the players. The surrealist spatial potential of digital space experience is explored in Superliminal (2019), a puzzle game that transforms the experience into allegories of dreams, free-thinking and multiple opportunities. Data analysis performed on the STEAM platform and the First Manifesto of Surrealism (1924), in which surrealism came into existence as a movement, were analyzed with Python software. The experimental group's thoughts and comments expressed on the STEAM platform were analyzed. Preliminary results of the study are presented with the "regression tree" method. Using the Python programming language, analyses are prosuded to discuss game spaces from a lens of surrealism perspective.
The concept of virtual reality (VR), perceived as a copy of physical reality, restricts both the creators and users of the space, leaving no room for potential surreal experiences. The main motivation for conducting the research on virtual surreal space is to open up creative/productive spatial possibilities for discussion from a thought perspective that goes beyond this definition. Although there are various approaches to digital space in the literature, these studies mostly rely on computational methods. In contrast, this study aims to explore space from the perspective of "digital surrealism" which is ignored in spatial studies, through the computer-based gaming experience. Scholars writing about architecture and surrealism have argued that, unlike other forms of fine art, architecture was never an integral part of surrealism. Against this perspective of the digital game experience, the study aims to question whether it is possible to interpret the space with a surreal perspective and to investigate whether the space can approach surrealist thought with the digital game experience fed by computational methods that support the concepts of 'autonomy' and 'ubiquity'. The main goal of the study is to explore the relations between surrealism and architecture and the spatial potential of these relations through the experiences of the players. The surrealist spatial potential of digital space experience is explored in Superliminal (2019), a puzzle game that transforms the experience into allegories of dreams, free-thinking and multiple opportunities. Data analysis performed on the STEAM platform and the First Manifesto of Surrealism (1924), in which surrealism came into existence as a movement, were analyzed with Python software. The experimental group's thoughts and comments expressed on the STEAM platform were analyzed. Preliminary results of the study are presented with the "regression tree" method. Using the Python programming language, analyses are prosuded to discuss game spaces from a lens of surrealism perspective.
The 1980s saw full-motion video (FMV) titles inaugurate design patterns for a new genre of interactive digital narrative (IDN). Recently, this genre made a resurgence in popularity. Despite the intervening years, FMV’s design conventions remain tightly coupled to the affordances of laserdisc technology thanks to streaming platforms like Twitch and YouTube. This paper: (1) employs IDN affordances and aesthetics as a lens to examine modern FMV games, namely the recent works of Wales Interactive; (2) offers a distinction between two story structures commonly employed in FMV design, i.e. event-driven and branching narratives; and (3) leverages research on the emerging conventions of Timeline–an authoring platform for tightly parallel, parameterized stories–to address the challenges of FMV design.
Eleştirel ve yaratıcı düşünce 21. yüzyıl öğrenenlerinin geliştirmesi gereken önemli becerilerdir. Bu araştırma, açık ve uzaktan öğrenme ortamlarında eleştirel ve yaratıcı düşünceyi geliştirmek için, etkileşimli öğrenme senaryosunda hangi unsurların bulunması gerektiğini ortaya çıkarmayı ve etkileşimli öğrenme senaryo tasarımına yönelik bir kontrol listesi oluşturmayı amaçlamaktadır. Belirlenen amaç doğrultusunda Hetagoji kuramı ve Sorgulamaya Dayalı Öğrenme kuramı çalışmanın kuramsal çerçevesini oluşturmaktadır. Bu anlamda çalışma, etkileşimli senaryo oluşturma sürecine Hetagojik bir yaklaşımla Sorgulamaya Dayalı Öğrenme bağlamında bütüncül bir bakış açısı oluşturarak alanyazına katkı sağlaması açısından önemlidir. Çalışma nitel araştırma yaklaşımlarından biri olan durum çalışması ile desenlenmiştir. Veriler, yarı yapılandırılmış görüşme formlarıyla yüz yüze ve çevrimiçi olarak yedi alan uzmanıyla görüşme yapılarak toplanmıştır. Toplanan veriler, NVivo12 paket programıyla analiz edilerek, dört ana tema, on altı tema, elli beş alt temaya ulaşılmıştır. Bu bağlamda oluşturulan kontrol listesi genel olarak; önceki bilgiyle yeni bilgiyi bütünleştirme, süreç içinde öğrenene başarı mutluluğu yaşatma, farklı öğrenme stillerine yönelik farklı öğrenme yolu seçenekleri sunma, dallanma yapıları ve oryantasyon eklentisi oluşturma, açık uçlu soruları, örnek olayları, yaşamdan hikâyeleri, tartışma forumlarını bütün sürece yayma, uygun yazılım seçme şeklinde özetlenebilir.
The continued and extensive studies of Aristotle (Laurel 1991; Kallay 2010) in the digital age suggest there is still a close relationship between drama and writing for the screen. However, others suggest the need for new forms of writing (Millard 2014; Murray 2012; Riggs 2019). This chapter asks what forms and processes are useful for new media forms. Using examples from my own work and the work of other writers and performance makers (Robin MacNicholas, IOU, and Blast Theory), I argue that writing which is informed/influenced by performance (and, therefore, the writer/audience as performer) is an understudied area of concern. This chapter will explore performance in new forms of visual production and suggest that improvisational techniques and negotiated narratives are likely to be important aspects of a writer’s toolkit in this new media age, especially in relation to interactive, participative or immersive forms of production.KeywordsAgencyCollaborative writingImmersionInteractiveNegotiated narratives
What are the fundamental properties of the interactive script and how do they relate to the script itself? Without aiming to describe and classify all its properties, this chapter investigates this profound question starting from Christoph Bode’s concept of Future Narratives: while linear scripts describe events in the perfect past—even if they are set up in some future, they are already finished when one reads the script—interactive scripts final form depends on the choices lying ahead, as one reads it. A film script is an easily recognizable object: it can be defined as a set of pages printed with a linear sequence of written scenes, describing the narrative through sound and images, and therefore there is a solid culture of fruition on how to read a script: you start on page one and follow sequentially. Although this definition can cover a wide range of audiovisual formats, it applies only to linear scripts. When scripts for interactive films are brought into consideration, the fragilities of this definition are exposed and the need for a new understanding of what a script is becomes clear.KeywordsFuture narrativesInteractivityOntologyScreenwriting
This study determines and analyzes the principles of interactive scenario design supporting critical and creative thinking in asynchronous learning environments. The study was conducted as a qualitative research, framed by two theoretical approaches, heutagogy and inquiry-based learning, and a holistic case study. The basic principles of the theoretical approaches and then theoretical matrix where sixteen semi-structured interview questions transformed later on were the beginning of the study. Semi-structured interview questions were given to 7 open and distance learning field experts and the data was collected. For the data analysis descriptive and content analysis, for content analysis inductive analysis was used. NVivo12 was employed. The result of the study shows that in the design of interactive scenarios which is the basis of interactive videos, 4 main themes, which are (1) Support Productivity with Natural Curiosity, (2) Create Self-awareness, (3) Provide Self-discovery, (4) Spark off Intellectual Transformation, 16 themes describing the main themes and 55 sub-themes were achieved. The components leading the interactive scenario design where the themes explaining the main themes and the sub-themes take place were used as a checklist in the form of hypothesis.
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