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Fiction and Interaction : how clicking a mouse can make you part of a fictional world
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... Ourselves (2014b). At first I saw selfies primarily as a parallel to the self-representations and self-narrations I had studied previously in blogs and electronic literature (2014a;2017b;Walker 2005a), but as I analysed selfie apps and "beautifying" filters, as well as the sharing and liking ecosystems selfies are embedded in, I realised that the algorithmic manipulation of images that is inherent to digital technology is deeply entwined with our self-understanding. Building upon this work, I wrote a chapter on "Biometric Citizens" that further examines the connections between selfies and machine vision (Rettberg 2017a), and the way these are embedded within large-scale systems of power and surveillance. ...
... Building upon this work, I wrote a chapter on "Biometric Citizens" that further examines the connections between selfies and machine vision (Rettberg 2017a), and the way these are embedded within large-scale systems of power and surveillance. I also developed my interest in artistic explorations of the topic through two conference papers discussing art works that interrogate machine vision (Rettberg 2016a; Rettberg 2016b), building upon my earlier work on digital art (Walker 2003), games (Corneliussen andRettberg 2008), and electronic literature (Walker 2004;2005a). ...
... Building upon this work, I wrote a chapter on "Biometric Citizens" that further examines the connections between selfies and machine vision (Rettberg 2017a), and the way these are embedded within large-scale systems of power and surveillance. I also developed my interest in artistic explorations of the topic through two conference papers discussing art works that interrogate machine vision (Rettberg 2016a; Rettberg 2016b), building upon my earlier work on digital art (Walker 2003), games (Corneliussen andRettberg 2008), and electronic literature (Walker 2004;2005a). ...
The project summary part of B1 in my successful ERC-CoG application, which was awarded €2 million. The project will run from August 2018-July 2023.
... Online Caroline only takes up five or ten minutes of your day, and the twenty-four episodes take place over as many days, or if you don't read your email for a day or two, and don't click on the link to the latest version of her website, the narrative is postponed a little for you. Online Caroline, which I have written about elsewhere (Walker 2004(Walker : , 2003, is a clearly bounded work conceptually and narratively, but it is distributed across both time and several genres of networked media. Email narratives are another increasingly common kind of narrative that is If your first encounter with Implementation is by seeing a sticker on a post, for instance, as shown in Figure 1, the words on the sticker have a very different context to you than to a reader who downloads the PDFs of neat sheets of stickers arranged two across and five down.The sticker shown in Figure 1 does not in itself suggest that it is part of a larger narrative: Instead, it would seem natural to read this sticker as commenting on sticker art in general, given its position next to other stickers. ...
... Online Caroline only takes up five or ten minutes of your day, and the twenty-four episodes take place over as many days, or if you don't read your email for a day or two, and don't click on the link to the latest version of her website, the narrative is postponed a little for you. Online Caroline, which I have written about elsewhere (Walker 2004(Walker : , 2003, is a clearly bounded work conceptually and narratively, but it is distributed across both time and several genres of networked media. Email narratives are another increasingly common kind of narrative that is If your first encounter with Implementation is by seeing a sticker on a post, for instance, as shown in Figure 1, the words on the sticker have a very different context to you than to a reader who downloads the PDFs of neat sheets of stickers arranged two across and five down.The sticker shown in Figure 1 does not in itself suggest that it is part of a larger narrative: Instead, it would seem natural to read this sticker as commenting on sticker art in general, given its position next to other stickers. ...
... For example media theorists prefer to talk of transmedia storytelling (Jenkins 2007) while in narratology the term transmedial is usually preferred, both to highlight a concern with the materiality of diff erent media, and to acknowledge the infl uence of semiotic theory (Ryan 2006). Likewise, in new media theory, cross-media texts or cross-media platforms both hold currency to describe what has been labeled in digital narratology as distributed narrative (Walker 2004). ...
... Th e communicative interplay between a storyteller, an audience, and the story itself has long been a matter of interest to narratologists, and it is of heightened signifi cance in relation to digital texts. Interactivity is repeatedly cited as the feature of digital media that most clearly distinguishes it from older, nondigital genres (Ryan 2004(Ryan , 2006Aarseth 1997;Walker 2003). How we defi ne interactivity and its various forms remains a matter of debate, as Ryan explores in her chapter 2. ...
Just as the explosive growth of digital media has led to ever-expanding narrative possibilities and practices, so these new electronic modes of storytelling have, in their own turn, demanded a rapid and radical rethinking of narrative theory. This timely volume takes up the challenge, deeply and broadly considering the relationship between digital technology and narrative theory in the face of the changing landscape of computer-mediated communication. New Narratives reflects the diversity of its subject by bringing together some of the foremost practitioners and theorists of digital narratives. It extends the range of digital subgenres examined by narrative theorists to include forms that have become increasingly prominent, new examples of experimental hypertext, and contemporary video games. The collection also explicitly draws connections between the development of narrative theory, technological innovation, and the use of narratives in particular social and cultural contexts. Finally, New Narratives focuses on how the tools provided by new technologies may be harnessed to provide new ways of both producing and theorizing narrative. Truly interdisciplinary, the book offers broad coverage of contemporary narrative theory, including frameworks that draw from classical and postclassical narratology, linguistics, and media studies.
... Friedhoff añade que "Twine has quickly become the tool of choice for people who want to make games about topics like marginalization, discrimination, disempowerment, mental health, and LGBTQ issues" (2), por lo que dicha herramienta ha sido predilecta para responder a la visión puramente comercial y técnica de los videojuegos, permitiendo la elaboración de una mirada crítica y abiertamente política e ideológica al momento de crearlos.Por consiguiente, Nanopesos se inscribe en toda una tradición, clasificación y movimiento en torno a videojuegos que han buscado un posicionamiento contrario al mero campo del entretenimiento, como el newsgame, para varias investigaciones, una de las ramificaciones del género de los serious games 4(Cabales, en línea). Como observa Mancuso, el newsgame ha sido destacado "en su potencial como herramienta interactiva, educativa e informativa" (31), el cual se remonta a Gonzalo Frasca, experiodista uruguayo de CNN para Estados Unidos, quien en 2001 realizó Kabul Kaboom!, el cual, combinando aspectos de las mecánicas de Space Invaders y la visualidad de una pintura antibélica como el Guernica de Picasso(Walker, 2003), trata de "una persona afgana que tiene que recoger cajas de ayuda humanitaria, la «comida americana saludable» (hamburguesas), mientras el ejército de los Estados Unidos bombardea constantemente" (Marín 133), donde habría que añadir, según Treanor y Mateas, que rápidamente el jugador puede reconocer que "the game always ends in failure" (3). Por lo que la simbiosis entre la representación visual y el gameplay de Kabul Kaboom!, hacen de su significado una crítica a la política exterior de Estados Unidos, la cual "involves dropping food and bombs on the same country will ultimately end in failure and hurt the people that the food is meant for" (Treanor y Mateas 3). ...
El objetivo ha sido analizar la estética afectiva de Nanopesos, videojuego creado por Camila Gormaz en noviembre de 2019, en pleno Estallido Social. La creación de Gormaz gamifica la vida cotidiana de un/una joven chilena dentro del sistema económico neoliberal, aunada con deudas y una serie de restricciones que afectan su salud y capacidad de socializar con sus pares. Se ha considerado una revisión del término neoliberalismo debido a su aparición durante las manifestaciones sociales del 2019, lo que repasa tópicos como la negación del término hasta su puesta en práctica, además, se reflexiona en torno a los ecosistemas digitales.
... The Holodeck in Star Trek and the FlickSyncs in Ernest Cline's Ready Player One (2011) follow the same idea, and many of today's richly graphical games have a similar ambition. In the 1990s and early 2000s, immersion was a key concept for scholars of electronic literature and video games, and was viewed as highly desirable (Murray 1997, Ryan 2001, Walker 2003. Early cyberpunk fiction expresses some of the same excitement, notably with William Gibson's coining of the term cyberspace as a "consensual hallucination" in Neuromancer (1984). ...
The relationship between humans and media is a central trope of classic science fiction, and one where media is frequently portrayed as a threat. Ray Bradbury's Fahrenheit 451 (1953) is focalised through Mildred's husband, who sees her as distant from him, imprisoned by the media she loves and surrounded by her soap opera heroes: " His wife stretched on the bed, uncovered and cold, like a body displayed on the lid of a tomb, her eyes fixed to the ceiling by invisible threads of steel, immovable. And in her ears the little Seashells, the thimble radios tamped tight, and an electronic ocean of sound, of music and talk and music and talk coming in, coming in on the shore of her unsleeping mind. " Bradbury's media prison is imagined from the world of television and radio, but the anxieties expressed are the same as those we see today, for instance in the short film I Forgot My iPhone (2013), where the protagonist goes through her day as the only person not constantly interacting with their phone. The two minute short has nearly 50 million views on YouTube, showing that the motif hits a nerve. I Forgot ends with an image very reminiscent of Bradbury: as the protagonist curls up in bed with her boyfriend and turns out the light, he lifts up his phone and stares transfixed at its screen, his face bathed in its light. These two portrayals of humans and technology, created sixty years apart, use the same imagery: media creates distance between lovers. This paper aims to connect the motif of the human imprisoned and isolated by media as it is expressed in dystopic science fiction to its expressions in mainstream discourse. As a scholar of digital aesthetics and narratives rather than a social scientist, my aim is not to survey a representative selection of science fiction or to provide statistically reliable data, but to explore ways in which we make meaning by analysing passages and scenes that yield productive images about the relationship between humans and media, from science fiction literature, games and movies as well as from contemporary media discourse. Immersion Mildred is experiencing an immersive form of virtual reality. She has screens on all her walls and the characters in her favourite soap operas include her in the plots, waiting for her to say her lines. The Holodeck in Star Trek and the FlickSyncs in Ernest Cline's
... På 1990-tallet og tidlig på 2000-tallet var det mange teoretikere som var opptatt av immersjon (Murray 1997;Ryan 2001;Walker 2003 inn i en fortelling på samme måte som man kan bli oppslukt av en bok eller en film, måtte vaere målet for nettmedier også. Vi forestilte oss at immersjon ville bli noe enda mer i digitale medier enn det vi opplever når vi er oppslukt av romaner eller filmer, fordi vi så for oss disse multimodale, rike mediene: holodeck-visjonene fra flere tiår med fremtidsdrømmer. ...
Fear of the Dehumanizing Effect of Media: Future Media Seen through Science Fiction. A Response to Jon Bing.
In 1994 the Norwegian science fiction author and professor of law informatics Jon Bing wrote an essay about the media of the future. This article, written after a re-reading of Bing’s essay, reflects upon the changes that have taken place since the nineties up until today both in theoretical approaches to and popular discourse on digital media. Taking examples from recent science fiction and the current media discourse I show how the red thread Bing found in literature, «an anxiety about media’s dehumanizing effect,» is still central, and how it can be understood through an awareness of the digital dualism we can see today in the theories of the nineties.
... We saw the same mechanism in the early days of blogging. I began blogging in my late twenties as a PhD student and was often called an exhibitionist or narcissist by non-blogging colleagues (Mortensen and Walker 2002;Walker 2006). I wrote a blog post about this on 24 July 2001, where I accepted the label but asked, 'Why are we so afraid of being thought exhibitionists, anyway?' ...
Selfies, blogs and lifelogging devices have become important ways in which we understand ourselves. Jill Walker Rettberg analyses these and related genres as three intertwined modes of self-representation: visual, written and quantitative. Rettberg explores topics like the meaning of Instagram filters, smartphone apps that write your diary for you, and the ways in which governments and commercial entities create their own representations of us from the digital traces we leave behind as we go through our lives.
While cinema boasts of a long history that has placed the representation and aesthetics of memory at its centre, virtual reality (VR) and augmented reality (AR) are only starting to shape their own aesthetic and narrative engagement with memory. Through the analysis of Chez Moi (Caitlin Fisher and Tony Vieira, 2014), Queerskins: Ark (Illja Szilak, 2020), and Homestay (Paisley Smith, 2018), this essay shows how cinematic AR and VR involve the viewers’ movement to produce and transform collective memory and spatial habitation. Feminist digital geographies, film and media theory, and the concept of orientation developed by Sara Ahmed in Queer Phenomenology (2006) give sense to how sound, images and viewers’ movement participate to rewrite collective memory and cultural symbols. As these artworks present personal memories of struggles to find a home within present spaces, they queer hegemonic orientations of the subject, and invite viewers to re-align body and space within ever-changing virtual and digital spaces.
While cinema boasts of a long history that has placed the representation and aesthetics of memory at its center, virtual reality (VR) and augmented reality (AR) are only starting to shape their own aesthetic and narrative engagement with memory. Through the analysis of Chez Moi (Caitlin Fisher and Tony Vieira, 2014), Queerskins: Ark (Illja Szilak, 2020), and Homestay (Paisley Smith, 2018), this essay shows how cinematic AR and VR involve the viewers’ movement to produce and transform collective memory and spatial habitation. Feminist digital geographies, film and media theory, and the concept of orientation developed by Sara Ahmed in Queer Phenomenology give sense to how sound, images and viewers’ movement participate in rewriting collective memory and cultural symbols. As these artworks present personal memories of struggles to find a home within present spaces, they queer hegemonic orientations of the subject, and invite viewers to realign body and space within ever-changing virtual and digital spaces.
Althusser extends Marx's notion of reproduction of the means of production beyond the production system to the Ideological State Apparatues and the Repressive State Apparatuses. The Ideologocial State Apparatuses, especially education, ensure that we are reproduced as subjects of the ruling ideology.
"Ideology represents the imaginary relationship of individuals to their real conditions of existence...Ideology has a material existence...always exists in an apparatus, and its practice, or practices" (Althusser developing the notion of ideology)
