Assignment One for Research Module
New Semester, new project.
Assignment One
“Prepare a ten minute presentation of your practice in which you identify the key themes and interests evident in the practice, the nature of the practice and practitioners whose work has been of influence.”
My practice is interactive media.oierngoerngoerngoerngoerngojgnjrenognstuff here.......
Assignment One
“Prepare a ten minute presentation of your practice in which you identify the key themes and interests evident in the practice, the nature of the practice and practitioners whose work has been of influence.”
My practice is interactive media.oierngoerngoerngoerngoerngojgnjrenognstuff here.......
Think I should start by looking at the practitioners whose work essentially led me to my interest in interactive media. I enjoy the work of various artists all of which has helped me in my development however not all of them are in anyway connected to New Media. The nature of New Media and the internet means that there are no definitions of what is expected or considered the work of this practice. This means that you can push the boundaries and can branch out into various fields while still considering youself a New Media artist.
One of my key interests is what happens to texts when they are put on the internet and “The effect of new media on the transmission of various narrative forms.” For example Fairy Tales, Comics, and ghost stories the list is endless. And this is going to be my basis for this research module, which I will later develop. Within narrative the internet represents a return to the manuscript style (or even oral) culture where the reader is expected to interact rather then just be a passive recipient. The examples I gave previously are all forms of storytelling that require a certain level of interactivity, for example comics you navigate your way through them, by an almost intuitive way. Fairy Tales and Goust Storys started as an oral form of storytelling and weren’t infact recorded until the late 18th century where obviously there style and therefore meaning were changed and subverted. New Media and the ability to interact with the piece in front of you has again changed meaning and context, and imposes questions on whether these ‘new’ versions have dramatically changed these examples as well as questions on the best way in which to demonstrate and transcribe these narrative and illustrated texts.
What is interactive narrative?
Post-modern theories of narrative seem to have changed the relationship between author and reader, bringing to the foreground the importance of the reader in the process of constructing meaning in text. Many post-modern texts are designed to take advantage of the reader’s active role in making the work meaningful. Interactive narratives follow a non linear structure, the readers have to navigate and put story elements in various orders themselves. When the writer includes multiply possibilities in the development of the plot, the reader plays an active role in shaping their own paths through the story. Rather than creating finished works, the interactive artist creates relationships. My interest in interactive narrative originated from seeing Schott Mclouds interactive comics. Which shows the possibilities of narrative forms (not just in this genre) been made interactive as well as combining illustration, which is another of my key interests.
Although I previously mentioned that the reader is important in shaping the path of where they go, this is not neccisarily always the point. If a type of narrative is put on the web, even if its just written down in exactly the same way as it would be in a book, it still changes the meaning and the context. In particular my interst in fairy tales is not just how I could make the viewer shape there path through it but also the effect of just having it on the internet.
Links for Assignment One:-
One of my key interests is what happens to texts when they are put on the internet and “The effect of new media on the transmission of various narrative forms.” For example Fairy Tales, Comics, and ghost stories the list is endless. And this is going to be my basis for this research module, which I will later develop. Within narrative the internet represents a return to the manuscript style (or even oral) culture where the reader is expected to interact rather then just be a passive recipient. The examples I gave previously are all forms of storytelling that require a certain level of interactivity, for example comics you navigate your way through them, by an almost intuitive way. Fairy Tales and Goust Storys started as an oral form of storytelling and weren’t infact recorded until the late 18th century where obviously there style and therefore meaning were changed and subverted. New Media and the ability to interact with the piece in front of you has again changed meaning and context, and imposes questions on whether these ‘new’ versions have dramatically changed these examples as well as questions on the best way in which to demonstrate and transcribe these narrative and illustrated texts.
What is interactive narrative?
Post-modern theories of narrative seem to have changed the relationship between author and reader, bringing to the foreground the importance of the reader in the process of constructing meaning in text. Many post-modern texts are designed to take advantage of the reader’s active role in making the work meaningful. Interactive narratives follow a non linear structure, the readers have to navigate and put story elements in various orders themselves. When the writer includes multiply possibilities in the development of the plot, the reader plays an active role in shaping their own paths through the story. Rather than creating finished works, the interactive artist creates relationships. My interest in interactive narrative originated from seeing Schott Mclouds interactive comics. Which shows the possibilities of narrative forms (not just in this genre) been made interactive as well as combining illustration, which is another of my key interests.
Although I previously mentioned that the reader is important in shaping the path of where they go, this is not neccisarily always the point. If a type of narrative is put on the web, even if its just written down in exactly the same way as it would be in a book, it still changes the meaning and the context. In particular my interst in fairy tales is not just how I could make the viewer shape there path through it but also the effect of just having it on the internet.
Links for Assignment One:-
What is interactive media?
Its very hard to define, and answer the question what is interactive media. Have found one definition which works for some aspects but not all.
“Interactivity is the relation constituted by a symbolic interface between its referential objective, functionality and the subject.”
and from wikipedia, there is this definition:-
"Interactive media refers to media of communication that allow for active participation by the recipient, hence interactivity. Traditional information theory would describe interactive media as those media that establish two-way communication. In media theory, interactive media are discussed along their cultural implications. The field of Human Computer Interaction deals with aspects of interactivity and design of in digital media. Other areas that deal with interactive media are new media art and video game production.
While some traditional (non-digital) mass media would qualify for interactive media the term is usually only applied to digital media. The significant increase in possibilities for interactivity (especially over vast distances) brought by the internet boosted the availability of digital interactive media. Still, e.g. language in face-to-face communication would formally belong to the interactive media.
Interactive media are often designed by information designers. As all media they rely on communication. In the case of e.g. computer games this is visual, acoustic, and haptic communication between the user (player) and the game. In Mobile telephony, the communication happens between two people and is purely acoustic at the first glance. Yet, according to media theory the cultural implications of the medium have to be taken into account. Thus, aspects like constant availability, customisation of the mobile phone and Short Message Service are also part of the interactive medium called Mobile telephony. Media restrain from being translated to technological entities. Wikipedia-http://en.wikipedia.org/wiki/Interactive_media
While some traditional (non-digital) mass media would qualify for interactive media the term is usually only applied to digital media. The significant increase in possibilities for interactivity (especially over vast distances) brought by the internet boosted the availability of digital interactive media. Still, e.g. language in face-to-face communication would formally belong to the interactive media.
Interactive media are often designed by information designers. As all media they rely on communication. In the case of e.g. computer games this is visual, acoustic, and haptic communication between the user (player) and the game. In Mobile telephony, the communication happens between two people and is purely acoustic at the first glance. Yet, according to media theory the cultural implications of the medium have to be taken into account. Thus, aspects like constant availability, customisation of the mobile phone and Short Message Service are also part of the interactive medium called Mobile telephony. Media restrain from being translated to technological entities. Wikipedia-http://en.wikipedia.org/wiki/Interactive_media
Links of interest
Comics Research
As I previously mentioned it was the transmission of comic books that led me to this particular field of interest. Although there are many online comics, and apart from a few examples, they often follow a similar approach to that of the printed version. It appears as of yet there is little progress in how online comics could make use of the internet and how hyperlinks and other various tools could be incorperated, to create a new experience that differs from the print, yet is just as viable"
http://www.scottmccloud.com/inventions/24hr/dare/dare.html
Examples of online Comics
http://castlezzt.net/24hourcomic.cfm
http://members.aol.com/opheliab/24hour1.html
http://www.webcomicsnation.com/caseysorrow/feral/series.php?view=single&ID=1918
Fairy Tales Research
At this point, fairy tales will be my specific field of interest. Although fairy tales are on the web, they are not interactive its just th text. Can you make fairy tales interactive? Or will that completly rid of the moral and truth messages that fairy tales excist to tell?
Sarah Bonner, Manchester University writes:
Her thesis examines the recent resurgence in the use of themes and tropes from fairy tales in contemporary visual culture in Europe and America. She argues that this resurgence is linked to an interest in rethinking gendered identity.
Re-Inventing / Re-Claiming Red Riding Hood
Approaching the question ‘In what ways have texts and images responded to one another?’ this paper proposes an investigation into the visual responses to the Grimm Brothers’ fairy tale ‘Little Red Riding Hood’. Taking this as a starting point, I will discuss how the vital and repetitive use of symbols has settled, through extensive textual and visual dissemination, into the collective consciousness of the Western world. In addition, the recent visual revisions that are challenging the established fairy tale tradition will also be explored.
Visual illustrations of fairy tales have served to reinforce the tales’ moralistic message, and have captured the main thrust of the texts through carefully selected and repeated images. More recently, there has been a shift in visual responses to the Grimm’s fairy tales from a tendency to comply with the basic parameters of the myths to an attitude of parody or critique. Increasingly fairy tales are being visually appropriated in order to subvert the nineteenth-century cultural values expounded in the Grimm’s tales, reflecting a shift in cultural attitude. The visual responses to ‘Little Red Riding Hood’ explore the relationship between girl and beast interrogating the implicated behaviour patterns presented by the symbols of traditional texts.
In the case of ‘Little Red Riding Hood’, it is the red cape and the wolf that instantly identify the tale to the reader/viewer. Artists such as Paula Rego and Kiki Smith have responded to the text as well as to recent cultural pressures, commenting on gender roles through visual subversions of the traditional fairy tale. These artists’ responses to ‘Little Red Riding Hood’ create a dialogue of identity and discrimination, engaging the Grimm’s concept that appearances aren’t always what they seem.
Her thesis examines the recent resurgence in the use of themes and tropes from fairy tales in contemporary visual culture in Europe and America. She argues that this resurgence is linked to an interest in rethinking gendered identity.
Re-Inventing / Re-Claiming Red Riding Hood
Approaching the question ‘In what ways have texts and images responded to one another?’ this paper proposes an investigation into the visual responses to the Grimm Brothers’ fairy tale ‘Little Red Riding Hood’. Taking this as a starting point, I will discuss how the vital and repetitive use of symbols has settled, through extensive textual and visual dissemination, into the collective consciousness of the Western world. In addition, the recent visual revisions that are challenging the established fairy tale tradition will also be explored.
Visual illustrations of fairy tales have served to reinforce the tales’ moralistic message, and have captured the main thrust of the texts through carefully selected and repeated images. More recently, there has been a shift in visual responses to the Grimm’s fairy tales from a tendency to comply with the basic parameters of the myths to an attitude of parody or critique. Increasingly fairy tales are being visually appropriated in order to subvert the nineteenth-century cultural values expounded in the Grimm’s tales, reflecting a shift in cultural attitude. The visual responses to ‘Little Red Riding Hood’ explore the relationship between girl and beast interrogating the implicated behaviour patterns presented by the symbols of traditional texts.
In the case of ‘Little Red Riding Hood’, it is the red cape and the wolf that instantly identify the tale to the reader/viewer. Artists such as Paula Rego and Kiki Smith have responded to the text as well as to recent cultural pressures, commenting on gender roles through visual subversions of the traditional fairy tale. These artists’ responses to ‘Little Red Riding Hood’ create a dialogue of identity and discrimination, engaging the Grimm’s concept that appearances aren’t always what they seem.
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