By Marie-Laure Ryan
Is there an important distinction in perspective among immersion in a video game and immersion in a film or novel? What are the recent chances for illustration provided by means of the rising expertise of digital fact? As Marie-Laure Ryan demonstrates in Narrative as digital fact, the questions raised by means of new, interactive applied sciences have their precursors and echoes in pre-electronic literary and inventive traditions. previously a tradition of immersive ideals--getting misplaced in an excellent ebook, for example--we have gotten, Ryan claims, a tradition extra considering interactivity. drawing close the assumption of digital fact as a metaphor for overall paintings, Narrative as digital fact applies the options of immersion and interactivity to improve a phenomenology of analyzing.
Ryan's research encompasses either conventional literary narratives and the hot textual genres made attainable via the digital revolution of the prior few years, comparable to hypertext, interactive videos and drama, electronic set up paintings, and laptop role-playing video games. Interspersed one of the book's chapters are numerous "interludes" that spotlight solely on both key literary texts that foreshadow what we now name "virtual reality," together with these of Baudelaire, Huysmans, Ignatius de Loyola, Calvino, and science-fiction writer Neal Stephenson, or contemporary efforts to supply interactive paintings kinds, just like the hypertext "novel" Twelve Blue, by way of Michael Joyce, and i am Your guy, an interactive motion picture. As Ryan considers the destiny of conventional narrative styles in electronic tradition, she revisits one of many primary matters in sleek literary theory--the competition among a possibly passive interpreting that's taken over via the realm a textual content represents and an energetic, deconstructive studying that imaginatively participates within the text's creation.
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Extra resources for Narrative as virtual reality : immersion and interactivity in literature and electronic media
Sample text
We all know instinctively what interactivity consists of in a computer program—submitting input and receiving output—but it is much harder to tell what it means to feel immersed in a virtual world, and how digital technology and interface design can promote this experience. The phenomenological idea of consciousness as a sense of beingin-the-world—or in this case, in a simulated world—is at the core of the theory and poetics of immersion presented in the second part of the book. The term immersion has become so popular in contemporary culture that people tend to use it to describe any kind of intensely pleasurable artistic experience or any absorbing activity.
In contrast to the predictable realization of the possible, the mediation between the virtual and the actual is not a deterministic process but a form-giving force. The pair virtual/actual is characterized by the following features: 35 36 | VIRTUALITY 1. The relation of the virtual to the actual is one-to-many. There is no limit on the number of possible actualizations of a virtual entity. 2. The passage from the virtual to the actual involves transformation and is therefore irreversible. As Lévy writes, ‘‘Actualization is an event, in the strongest sense of the term’’ (171).
23) If reality has become an edifice of digital information, any bug or virus can bring the end of the world. We have seen the e√ects of the literalization of this belief in the millenarian hysteria of y2k cultism. On telepresence: Artificial intelligence, tele-sensoriality, virtual reality and so on—all this is the end of illusion. The illusion of the world—not its analytical countdown—the wild illusion of passion, of thinking, the aesthetic illusion of the scene, the psychic and moral illusion of the other, of good and evil (of evil especially, perhaps), of true and false, the wild illusion of death, or of living at any price—all this is volatilized in psychosensorial telereality, in all these sophisticated technologies which transfer us to the virtual, to the contrary of illusion: to radical disillusion.
