Interactive Media

The author has been has been mixing realities for many years. In his paper "Ethico-aesthetics in t* performative spaces" he outlines his history of theoretical and critical discussions, that are enlightening and contextualising
in many ways. Coming from a mathematics background, his take on the use of scientific ideas and technology in the arts is somewhat distinct yet related
to the papers in this volume. He uses the term "media choreography" as a term that attempts to describe MR environments not as databases and rule systems,
but rather as dynamics and quasiphysics. This ties in nicely with some of the concepts thrown around in the discussions of Digital Physics in the Data Ecologies Workshop: attempting to build quasi- or pseudophysical environments.

Sha concentrates mainly upon (approximations of) continuous systems rather than accepting / working with / exploiting discrete systems. He is, however, aware of the differences between these things, which not all practitioners in these fields are. One language point that remains pertinent is the use of the expression "co-structure" rather than "interact" when referring to the behaviour of visitors and systems in complex MR environments. There is no turn taking involved, it is much more a case of the visitors and the environment taking part in a collaborative structuring of the media architecture in an inter- twined and simultaneous collection of actions. His closing comments, where he forcefully holds the term "play" to be distinctly different from the ideas of ("the carcass of") "game" are a rallying call to all those who continue to believe that there is and should be an important difference between the two.

This paper examines two levels of user engagement in digital storytelling: co-authoring during the production of multimedia content and user interaction during the visualization of the narrative. It introduces the case study of Babel, a new media framework consisting of a web platform and an interactive installation.
The web platform facilitates the first level of user engagement. It provides an environment that encourages multiple authors to produce and contribute narrative fragments to a shared database. The second level of user engagement is achieved through the interactive installation, which forges interactions between viewers and the available content, allowing the dynamic exploration and articulation of the narrative.
During both levels of engagement, the audience is prompted to abandon the role of passive consumer and to become either a producer of digital content or an active viewer that influences the projected narrative.
It also discusses cases of multi-author, multi-perspectival and interactive narratives in ‘old’ media art and the added value of new media in creating new opportunities for more decentralized and non-hierarchical models of storytelling production.

Our goal is to provide a Multi-Perspective viewpoint interactive interface media of sketch-based for rapid get spatial layout in Show-Window. In traditional way, designer is used to describe concept in early phases of design by Single-Perspective viewpoint via sketch in Show-Window design environment. It usually makes blind spot of spatial vision in early phases of design because it can't break

Presenting and facilitating the almost two-hour screening of the interactive film The Maribor Uprisings1 about the 2012–13 protests in the Slovenian city of Maribor, for the 8th Athens Ethnographic Film Festival was definitely a challenge. It was a challenge not only because it is an interactive film, with all the technical difficulties that might arise in a public screening, but also because it is a film that incorporates different modes of interactivity and is designed to facilitate the live participation of the audience...

NOTE: the review uploaded is a draft early version of the paper, please do not cite.

This dissertation will analyse various types of interactive narratives, with a particular focus on digital storytelling and its potential to enhance the fiction market. It will use a wide range of examples to illustrate points, supported by sales figures where possible and discussion about interactive narratives sourced from various professionals, academics and legal guidelines.

Chapter 1 examines what the term ‘interactive narrative’ can mean and how such products operate. Chapter 2 explores the legal status of interactive narratives with reference to ISBN guidelines, VAT policies and legal deposit practices. Chapter 3 discusses reader and character agency as related to choice, using frameworks of genre theory and reader response theory. Chapter 4 provides an overview of the sociocultural status of interactive narratives and how attitudes have shifted over time.

Chapter 5 goes into more detail about the history of interactive narratives in traditional physical book (or ‘pbook’) publishing. It discusses literary techniques used in metafiction and examines ‘choose your own adventure’ pbooks (hereafter referred to as gamebooks) and tabletop roleplaying materials. Chapter 6 analyses the potential for interactive narratives to enhance traditional publishing, with particular reference to children’s literature, educational materials and self-help products. It presents an overview of research regarding how interactive materials can affect engagement and learning. Chapter 7 will explore the potential for building up a brand, whether new or existing, through developing interactive narrative content. Case studies of various successful adaptations from other formats will be used to explore the commercial potential of exploiting IP to create interactive narratives. Chapter 8 looks in more detail at business models to explore how brands are built amongst interactive narrative users, how exposure can be maximised and how different systems of monetisation can be utilised most effectively. Finally, the key findings and recommendations of this paper will be summarised.

Stephanie Boluk und Patrick LeMieux fordern in ihrem gemeinsamen Werk Metagaming. Playing, Competing, Spectating, Cheating, Trading, Making, and Breaking Videogames die Leser_innen auf der ersten Seite zur Teilnahme an einem simplen Spiel auf. Dessen Spielregeln sind eigentlich klar umrissen, sie weiten sich aber – ohne hier zu viel verraten zu wollen – in einem zweiten Durchgang unerwartet zu einem Prisoner’s Dilemma aus, in dem es letztlich darum geht, eine Entscheidung der Autor_innen korrekt zu antizipieren. Dieses Vorgehen ist als exemplarisch zu verstehen; es illustriert eine Facette des metagaming – einen Aspekt digitaler Spiele, der weit mehr umfasst, als die simple Annahme „metagames are […] just games about games“ (S.3).

يتناول البحث الدور الذي تقوم به تطبيقات الإعلام الاجتماعي Social media  في طرح موضوع العنف ضد المرأة في المجتمعات العربية، وتحديداً ما يتعلق بملف التحرش الجنسي كأحد أبرز أشكال العنف الموجه ضد المرأة العربية، والذي تتزايد معدلاته مؤخراً برغم حرص المشرع في كافة الدساتير العربية على ضمان حقوق المرأة ضد أشكال العنف والإساءة المختلفة ووضع عقوبات رادعة في ذلك الشأن.

Dementia is a mental health condition which affects an estimated 50 million people worldwide. Yet it has, until recently, been an unfairly neglected subject in popular culture.

"Contested Mindscapes" considers the ways in which the arts have engaged with dementia over the past twenty years, looking at particular examples drawn from the disciplines of film and television, popular music, performance art, and interactive entertainment.

Examining a variety of creative approaches ranging from the thought-provoking to the controversial, "Contested Mindscapes" carefully contemplates the many ways in which the humanities and entertainment industries have engaged with dementia, exploring how the wide-ranging implications of this complex condition have been communicated through a variety of artistic nodes.

The Sochi Project is a transmedia experience built by Dutch documentary photographer Rob Hornstra and journalist/filmmaker Arnold van Bruggen to depict the hidden story behind the 2014 Winter Olympic Games in Sochi, Russia. The paper aims at discussing the premises of slow journalism and transmedia space as the theoretical background in which the transmedia analysis of the project is founded. The methodological approach to explore the case of The Sochi Project, in which the emphasis of this paper relies on, is the author’s original transmedia project design analytical model aimed at outlining essential features of the process of development of transmedia projects. The Sochi Project explores online as well as offline extensions in order to embrace the diverse facets of the storyworld and the audience.

Interactive media defines a vast gamut of digital and computer-mediated systems, products and services which rely on the users’ input in order to generate an expressive and/or representational output. As such, interactive media are distinguished from traditional or linear media insofar as their design and development explicitly relies on user agency as a constitutive participation. Participants’ engagement is, thus, both a seminal principle as well as an intended system consequence. It is often the case that interactive media rely on determined levels of pre-specified hotspots and/or triggers, defined by the authors. Those can range from highly programmed paths to exploratory wandering. By definition, interactive media comprises fiction and non-fiction, including essentially all multimedia formats – text, audio, image, video, animation – in 2D and 3D spaces, spanning online and off-line worlds, virtual and hybrid environments, genres and formats, as well as academic disciplines and professional occupations. This entry provides an introduction to interactive media history, principles, and examples, while expanding it into innovative contemporary digital media, including information visualization, virtual and augmented reality, artificial intelligence and machine learning

Reyner Banham, author of The Architecture of the Well Tempered Environment, described two contrasting approaches to natural resources and architecture: massive structure and power-operated environment. The former, he claimed, is never sufficient on its own: we always needed to also include power-operated infrastructures to make buildings livable. A few decades later, moved by the oil crises and contemporary pollution concerns, we began to measure building performance and livability by the scarcity of natural reserves of resources. The sense of scarcity became a major drive in development of technologies to measure and reduce energy use.
Parallel to this development, massive structure and power-operated environments conflated in several ways. We can locate smart building development in this lineage of immixture of power-operated environment with massive structure. Rich data collection from sensors and logging of users actions permit to orchestrate, to a certain extent, the co-operation between buildings and their human users. The discourse on scarcity, however, still haunts the discipline. Scarcity of resources and our attempts to measure them have been a strong drive behind technological developments. This starts to change slowly, with the advances in renewable energy technologies and proliferation of communication networks. By moving away from the scarcity discourse and placing more value on abundance of information, I pertain to address the interplay between user agency and build- ing automation. I discuss three cases of scarcity that can be read in a different key: energy, wireless communication and attention. It is in this way that we can work towards turning mere automation into sophisticated orchestration.

Modern society is actively engaged into technology due to educational reasons. Interactive media is considered as an integral part in language learning process to support the efficiency of the study process taking into consideration the needs and achievements of students. Therefore, new trends appear in the education process and technologies have to be successfully integrated by the teachers working in early childhood education institutions. The implementation of information and communication technology (ICT) curriculum at early childhood education is one of the educational sector development efforts to improve and support young learners' learning, language and literacy with ICT. English for Math activities are designed for kindergarten students so that they can experience the learning of Math in English in fun and exciting ways by creating the atmosphere of learning like playing integrated with ICT which will help the very young learners to understand the learning materials. This discussion is aimed at describing English for Math learning with ICT for kindergarten students. Moreover, the description can become one of the basic forms of the development of interactive learning based on students' self-learning. Besides, the arrangement of this study is also aimed to improve young learners' habitual and self-learning.

Vendors, producers, and designers of interactive products and content become increasingly aware and interested in the notion of Experience. Experience-oriented design is a particular approach, which differs from others with respect to its strong focus on the needs and emotions of people and the positive aspects of product use. This workshop's objective is to take an experience-oriented perspective on the current practices in the design of iTV, related cross-and interactive media. We collect, share and discuss design ideas ...

Contemporary art more and more frequently takes the form of a visual or audiovisual event rather than a permanent, stable object – an artefact. Today we increasingly encounter alongside film, the first artistic medium based on moving images, and its continuation – video, various forms of interactive media. As a result of the coexistence of these media, the temporal dimension of the work-event assumes one of two forms. In the first form, the work is linear in structure. Its time span poses a challenge to the traditional relationship between the addressee and the work of art. The addressee should in this case be aware of and accept the fact that it is not he or she who determines the time frame needed to experience a work of art, but rather the work itself. That failure in respect to this principle robs him or her of the possibility of truly experiencing the work. This challenge is one of acceptance and adaptation. In the second form, the work is nonlinear in structure. Here the temporal relationship between viewers and the work is determined by their mutual relations – that is, through a process of interaction. It is this interaction – with the event replacing the objective artefact – that in fact constitutes the experience of the work. In this case, the addressee's attitude cannot be reduced to a simple reaction to the temporal form of the work. But it is also not solely dependent on his or her decisions. It is the result of mutual cooperation between the two sides – the addressee and the work. This challenge is one of participation and cooperation. While the first type of work has found a home in the museum world thanks to the process of videofication the art world has been undergoing since the mid-1990s, pioneers of which include Nam June Paik, Bill Viola and Matthew Barney. The second type has only just begun to make its way into museums. In this chapter, I intend to propose a typology of interactive film and consider how the fates of these different varieties are tied to the institution of the museum, as well as what other environments could serve as a space for presenting it.