Murray, J. H. (1997). Hamlet on the holodeck: The future of narrative in cyberspace. Cambridge: The MIT Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 21/08/2006, 15:46
"The experience of being transported to an elaborately simulated place is pleasurable in itself, regardless of the fantasy content. We refer to this experience as immersion."
Discussing video games and the equation between real-world movements (mouse, keyboard input) and virtual world movements, "this is not a passive board game but a live-action stage."
"We are all gradually becoming part of a worldwide repertory company."
"A stirring narrative in any medium can be experienced as a virtual reality because our brains are programmed to tune into stories with an intensity that can obliterate the world around us."
There are two ways to spatially navigate interactive texts: the maze is a conditional progression towards one outcome whereas the rhizome proposes many possible outcomes. Murray suggests that a labrynth "as a participatory narrative form would seem to lie somewhere between the two, in stories that are goal driven enough to guide narrative but open-ended enough to allow free navigation."
Immersion is a participatory activity.
Nitsche, M., & Thomas, M. 2003, November 4–6. Stepping back: Players as active participators. Paper presented at Level Up.
Added by: Mark Grimshaw-Aagaard 11/09/2006, 10:57
"Players step into a dramatic position in relation to the fictional world -- defined by the very character they control."
"Having two heroes battling with certain tasks spread on a virtual stage filled with dramatic elements ... transforms the space between the virtual heroes in Common Tales into a valuable expressive element of the relationship between the two main characters."
Rebelo, P. 2003, Performing space. Unpublished paper presented at Symposium on Systems Research in the Arts: Music, Environmental Design, and the Choreography of Space.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 01/11/2006, 13:34
Paraphrases LeFevbre's definition of space as the inhabitant, being "a full participant, a user, a performer of space"
Defines sonic profile "as an internalised mapping of a soundscape – an outline describing the superimposition of various sources, events and their sounding in a space, as perceived by the listener"
Stuart, C. The object of performance: Aural performativity in contemporary laptop music. Paper presented at 5th International Digital Arts and Culture Conference, RMIT, Melbourne.
