Metaphors for interactivity in electronic narratives are rich and varied.
Some critics define the navigation actions taken by the reader as a kind of augury. In this interpretation, the reader is seen as the Roman augur, anticipating from the flight of birds the direction that the story will take. Some critics liken the electronic narrative to a game - one in which the reader becomes a player, selecting options to obtain a favorable outcome.
Others cite the Wunderkammer, holding that the electronic narrative provides the associational structure of a medieval cabinet or an assemblage by Joseph Cornell. And, still others describe the gathering of narrative incidents as bricolage – a wandering about, in which the reader uses whatever comes to hand to construct a personal collage - narrative. All of these metaphors provide insight into the process by which readers identify, select, and make connections between narrative elements in electronic literature.
However, each of them elides the complexity present in current electronic works. Comparing it to linear activities or even to physical spatial constructs may not adequately represent the nature of interactivity in electronic literature today. While electronic literature has considerable materiality, the syntax of interactivity is not so much a process or place, it is more like a language itself. As such, the links between electronic objects and between narrative events and outcomes have a flexibility akin to the grammar of transitions. Aspects of multilinearity, simultaneity, movement/resistance, and media oscillation all enter the inter-active potential of a hypermedia text (from M.C.Luesebrink).
Some critics define the navigation actions taken by the reader as a kind of augury. In this interpretation, the reader is seen as the Roman augur, anticipating from the flight of birds the direction that the story will take. Some critics liken the electronic narrative to a game - one in which the reader becomes a player, selecting options to obtain a favorable outcome.
Others cite the Wunderkammer, holding that the electronic narrative provides the associational structure of a medieval cabinet or an assemblage by Joseph Cornell. And, still others describe the gathering of narrative incidents as bricolage – a wandering about, in which the reader uses whatever comes to hand to construct a personal collage - narrative. All of these metaphors provide insight into the process by which readers identify, select, and make connections between narrative elements in electronic literature.
However, each of them elides the complexity present in current electronic works. Comparing it to linear activities or even to physical spatial constructs may not adequately represent the nature of interactivity in electronic literature today. While electronic literature has considerable materiality, the syntax of interactivity is not so much a process or place, it is more like a language itself. As such, the links between electronic objects and between narrative events and outcomes have a flexibility akin to the grammar of transitions. Aspects of multilinearity, simultaneity, movement/resistance, and media oscillation all enter the inter-active potential of a hypermedia text (from M.C.Luesebrink).
Download ebooks on http://www.frenchtheory.com/
See that post with different algorithms in metabole
See the journal French Metablog with today different posts
