Abstract:The author of the work raises the question of whether the term "interactivity" is applicable exclusively to works with the presence of a mechanism for selecting storylines, or it is permissible to assert that any work open to a variety of interpretations and containing some interactive potential can also be recognized as interactive. The author argues that the prerequisites for the appearance of such works should be sought in the works of avant-gardists of the 1960s, such as Paul Sharitz, and the cinema of pos… Show more
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