Structures and Time: Narration, Poetry, Models

Segre, Cesare; Meddemmen, John

doi:10.2307/1772081

Cited by 5 publications

(3 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…A deep ethical discussion on various levels is certainly necessary (for narrative engineers as well as interactors). 47 For particular articulation techniques, this might go as far to provide discussion environments between interactors and interactors with the narrative engineer. In particular journalistic environments might go into this direction (see Follow the Money (https://www.ftm.nl/) as an example).…”

Section: Discussionmentioning

confidence: 99%

See 1 more Smart Citation

Interactive digital narrative (IDN)—a complexity case

Nack

2022

New Review of Hypermedia and Multimedia

View full text Add to dashboard Cite

Any form of design 1 is a creative process considering goals and constraints that result in a product, which addresses aesthetic, functional, economic, or socio-political considerations that are established by the stakeholders involved. A design can follow two main development paradigms, namely a rational or action-centric model [1]. The rational model is plan-driven, where the plan is executed in terms of a discrete sequence of stages, such as pre-production (i.e. design brief, analysis of design goals, requirement specification, conceptualising solutions), production (i.e. development and testing), and post production (i.e. introducing the solution into the environment, evaluation and conclusion). This procedural view 2 allows for the repetition of stages at any time before, during, or after production based on accompanying best practices [2][3][4][5][6][7]. The rational paradigm understands design as informed by research and knowledge in a predictable and controlled manner. The action-centric paradigm apprehends design also as informed by research and knowledge but considers the design process as improvised, where the sequences of analysis, design and implementation are undistinguishably connected [8][9][10][11][12][13]. Within action-centric design designers conceptualise a problem (framing) by defining goals and objectives and then construct tentatively the object to be designed (move). The design process here asks the designer to simultaneously refine the mental image of the design object based on the actual perception of the context in and for which it needs to be designed (sensemaking-coevolution-implementation framework [11]). The expression of the idea through suitable design tools facilitates the critical rethinking of the perceived idea, which results in a new design cycle. The essential element in action-centric design, actually the development of any design idea, is the means of expression and perception to facilitate a space for inspiration, ideation, and implementation through which the designer refines ideas and explores new directions [12]. This way of looking at design is known as design thinking [13]. Both paradigms are essentially human-centred, in the way that they see human needs, competences (cognitive as well as knowledge) and behaviour as the basis of the investigation and only then design to accommodate those [4]. At its core, all design is experiential and that is why all design addresses fundamental concepts, such as affordance, mapping, feedback, conceptual models, and system image. Affordance refers to the relationship between the properties of an item and the capabilities of an agent that establish how that item can be used or understood. Mapping represents the relationship between the elements of two sets of items (i.e. the layout of controls and the devices being controlled). Mappings represent analogies, which can be spatial, biological, cultural, or follow principles of perception (such as Gestalt psychology) to facilitate grouping through proximity. Feedback communicates the r...

show abstract

Section: Discussionmentioning

confidence: 99%

“…As the actions of each individual interactor can be recorded 46 , at least reconfigurations and retelling can be analyzed. Achieving an understanding of reflection per interactor requires to open the system in a way that interactors can comment on their experience 47 . What this actually means for narrative flow is unclear.…”

Section: Validationmentioning

confidence: 99%

Interactive digital narrative (IDN)—a complexity case

Nack

2022

New Review of Hypermedia and Multimedia

View full text Add to dashboard Cite

show abstract

“…-God San Giuliano-Traveller language-user Human Being (3) The terms of Boccaccio's metaphor are well-defmed: just as the human being looks to God as the eternai being, so does the traveller-within the localized framework of our tale -look to San Giuliano; San Giuliano's identification with God is mentioned above; Traveller corresponds to Human Being through the use of language, as I bave illustrated.…”

Section: «Camminando» (1)mentioning

confidence: 98%

Rinaldo D'Asti: Drama of the <em>Signifié</em>

Cestaro¹

1986

Carte Italiane

View full text Add to dashboard Cite

Joint Attention, Semiotic Mediation, and Literary Narrative

Lively¹

2016

Poetics Today

View full text Add to dashboard Cite

In this paper I discuss the importance for narrative theory of the concept, drawn from developmental psychology, of "joint attention". 1 In the first part, I explain the basic concept and its significance for the emergence of narrative in young children. In the second part I draw out the implications of this genetic approach for our understanding of the nature of narrative signification: where classical narratology is based on a chain of representational and "communicative" dyads (signifier/signified and sender/receiver), joint attention integrates these functions into a triadic semiotic by which the sign mediates between three poles: the producer of the sign, the receiver of the sign and the object of their joint attention. In the third part, taking Boccaccio's Decameron as an example, I illustrate how this approach to the semiotics of narrative elucidates aspects of literary narrative that are obscured by the classical semiotic. Joint attention offers affordances for quasirecursive re-contextualization, since the object of joint attention may consist of another act of joint attention: literary narrative can create complex joint attentional structures by which the story is "seen" through nested perspectival prisms of embedded narrative and character.1 I would like to thank David Herman, Richard Walsh, Adam Roberts and Alan Palmer for their comments and suggestions on earlier versions of this article.

show abstract

Structures and Time: Narration, Poetry, Models

Cited by 5 publications

References 0 publications

Interactive digital narrative (IDN)—a complexity case

Interactive digital narrative (IDN)—a complexity case

Rinaldo D'Asti: Drama of the <em>Signifié</em>

Joint Attention, Semiotic Mediation, and Literary Narrative

Contact Info

Product

Resources

About