Creating and Viewing the Elastic Charles -- A Hypermedia Journal In: Hypertext: State of the ART, papers presented at the Hypertext II Conference, York, England, July 1989, Chapter 5, pp. 43-51. R. McAlesse and C. Green, Eds, Intellect, 1990. 1989-07-00 00:00:00
We describe a collaborative effort involving approximately 15 people creating material and tools for the "Elastic Charles", a hypermedia journal. The tools are used to create an additional structural layer upon video, sound and text material which has already been edited and is in a "final" format. This structural layer - hyperlayer -is used to link related portions of the journal's "stones" together to create the hypermedia environment. Our paradigm for linking in temporal media is presented.
Interactive Transformational Environments: Wheel of Life Contextual Media: Multimedia and Interpretation, Chapter 1, pp. 1 - 25. 1995-00-00 00:00:00
What kinds of experiences can we create when we free interactive technology from the restricted space of the computer box and transfer it to the public realm? Last fall the authors, and a group of twenty students at the MIT Media Lab explored this possibility. The result was The Wheel of Life, an interactive installation which drew its techniques from the worlds of theater, architectural design, cinema, and interactive computing.
Improvisational Media Fabrics: Take One In: Future Cinema: the Cinematic Imaginary After Film, ed. Jeffery Shaw, Peter Weibel, ZKM, Karlsruhe and MIT Press, Cambridge, 2003, pp. 272-279. 2003-00-00 00:00:00
Cinema-making is an activity of intelligent guessing, an expressive exploration of constructed meaning. Storytellers transform real-life observations into narratives through acts of selective inclusion, synthetic emphasis, time distortion, and metaphoric encapsulation; their tales are shaped within the empowering and framing constraints of their chosen medium. In art, the acto of seeing and expressing outer and inner worlds becomes a shareable learning experience that is simultaneously culture-driven, culture-forming and culture-reflective...
When Place Becomes Character: a critical framing of place for mobile and situated narratives in Martin Reiser (ed), The Mobile Audience: Art and New Technologies of the screen, BFI, 2005. 2005-00-00 00:00:00
Travel through place is an immersive experience. The confluence of geography, history, and culture encountered within a place reflects and discloses the journey of civilization. Cities -- positioned as the matrix of accumulated and transformative civilization -- have fascinated and inspired storytellers from Homer to Stendhal to Dickens and beyond. More than any other novel, James Joyce's Ulysses invites us to participate with its characters in an almost real-time navigation through a genuine urban space. Joyce's Ulysses is a picaresque tale: as an audience, we follow the protagonist's journeys through a sensory surround of particular urban impressions; and, as the narrator in a moment turns our attention to the thoughts of a woman waiting, we understand that we have been seduced by the narrative potential of a place where the sensory surround, culture, rituals, and daydreams that it supports are more important than overt action...
Putting the i in iDTV in Interactive Television Authoring and Production: Content Drives Technology, Technology drives Content. Manuel Jose Damsio, Editor, (Universidade Lusofona, itap, 2003) pp. 143-154 2002-04-17 00:00:00
"The structure of expression is shaped at the intersection of technology and culture"
Interfacing the Narrative Experience Interfacing the Narrative Experience, in Blythe, M. et. al. (eds.), Funology: From Usability to Enjoyment, Chapter 21, Kluwer. 2003-00-00 00:00:00
I have a research interest in interfaces to games that are played, not on computers, but in the physical environment and that ultimately transform the world into a game board for computer games. Of specific interest to this agenda are activities that are narrative and social in their nature, not only in the interaction between people, but also in people’s interaction with the physical world. Having spent time role-playing in online environments, in awe of their mechanisms for story generation and interactive game worlds, I still have to argue their failure to provide convincing and truly interactive environments for narrative experiences. Put differently, the unmistakable division between character and player, and between character environment and player environment in online role-playing, characteristically fail to induce a desirable level of suspension of disbelief. In contrast, live role-playing games offer particularly relevant examples of games where the physical world is adapted as a mature interface to an engaging and creative immersion in an interactive, social, and narrative context. They support social and collective exercises in emergent narrative creation where every participant, is part of the design effort. These narratives take place in a magical and imaginary domain in the cross-section between physical reality and fantastic fiction offering the kind of immersion that most interactive narratives promise as a technical goal, but have yet to deliver, where there is no physical division between player, character, and narrative. Some might argue that this level of immersion is the holy grail of interactive fiction and indeed entertainment, where the narrative thread, or content if you will, is embedded in physical locations and in objects around us, creating a tangible, ubiquitous, and even context-sensitive interface for the participants or players to unleash at.
Salvaged Objects: Things We Think With in Sherry Turkle ed. "Evocative Objects" (forthcoming) 2004-00-00 00:00:00
I stare at the first photograph that I have pulled out of a small cardboard box labeled “Glorianna to make copies.” It is a picture of my father in his youth by a lake with a dog. I never knew my father had a dog. Three years ago, I promised my siblings that I would digitize a large collection of memorabilia—images and videos. For this, I recently added a scanner to my image processing setup at our cranberry farm. My promise still unfulfilled, guilt is balanced with the anticipation of new discoveries. As I continue to muse, the image of my father is transformed into bits...