Murray, J. H. 1997. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York: Free Press.  Home/Search   Document Not in Database   Summary   Related Articles   Check

....of discrete, well defined messages from closed works for open texts with meanings that are problematic at best. It is the most theorized and hotly contested of reading practices, and its digital formations have been written about extensively (see, for example, Landow [32] Joyce [33] Murray [34], Aarseth [11] and Douglas [12] Those who historicize documents struggling to experience them as parts of past cultures often occupy a position that partakes of each extreme, occupying less a stable mid point than the third point of a triangle, midway between the other two extremes but ....

Murray, J.H., Hamlet on the holodeck : the future of narrative in cyberspace. 1997, New York: Free Press. xii, 324.

....and Future Steps In this paper we have proposed a plug in architecture for guiding and supporting children s interactive story creation activities. However, when doing such guiding, SAGA also has to ensure the 3 requisites for providing each child with an engaging interactive experience ([9], 8] 1) immersion by making it possible for the child to feel herself part of the story and with the power to act in it; 2) agency by taking into account her actions as a contribution to the flow of the story; 3) and, transformation by making it possible for the child to put ....

J. H. Murray. Hamlet on the Holodeck - The future of the narrative cyberspace. The Mit Press, 1998.

....project (Geist) finally, we give a conclusion of our work and a notion of our future plans in paragraph 5. 2. EXPERIENCES CATALYZED BY INTERACTIVE STORYTELLING Influenced by researchers of the Massachusetts Institute of Technology (MIT) the term Narrative Intelligence was created; see Murray [Mur98]. This research community developed the human computer interaction from a story oriented view. They try to obtain believable behavior for so called (visual) agents. Bates [Bat92] as well as Mateas and Stern [Mat00] tried to generate believable agents using the principle of emergent narrative. ....

Murray, J. H. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. The MIT Press, MA, 1998

....tree [4] The different ways through the tree describe a number of courses of events and only one way is possible at a time. Further, the number of nodes required grows exponentially as the length of a typical story increases. Another way to create interactive narratives is hypertexts [5]. They do not contain any model of the world, only texts and the connections between them. Everything is already written and the chosen way through the texts does not affect the story, the user does not leave any traces. To make that possible, the system would need intelligence. 3 Method It is ....

Murray, Janet H., Hamlet on the Holodeck -- the future of narrative in cyberspace, The Free Press, 1997.

....reinforced by a wealth of dramatic techniques from performance, literary and moving image arts, can introduce meaningful structure to VE s, which makes them engaging and effective as a forum for sharing and generating ideas. Cuthbert Hall Virtual College is an interactive RT 3D VE stage [5] where spatial narrative is collaboratively created through active user participation. As such, it seeks to explore how the integration of narrativity and architecture can expand the potential of RT 3D VE s for dramatic engagement, for use in collaborative design, research, education, ....

Murray, Janet, Hamlet on the Holodeck: The Future of Narrative in Cyberspace, Cambridge MA, MIT Press, 1997.

....for instance by interfering with the emotional state or the behaviour of VA s. This new form of entertainment would implement in its own way the convergence of VR, cinema and computer games as described for instance by Altman and Nakatsu [1] see Figure 1) and has obviously been influenced by [2]. The relations between VR and storytelling are complex and even though our main purpose is to develop an interactive storytelling system, these relations are worth exploring into some more details. Story telling and narratives are more than an enjoyable form of entertainment. Humans are social ....

J.H. Murray, Hamlet on the Holodeck: The Future of Narrative in Cyberspace. MIT Press, Cambridge, 1997.

....but such borrowings lead to problems. For example, Hindmarsh et al. [14] note the problems in making spaces coherent without the authorial control which narrative provides. The difficulties of such transfers are discussed in relation to particular examples below. We read of media convergence [18, 10], but integration of different spatial forms is elusive. Macromedia Director in conjunction with image manipulation tools such as Adobe Photoshop has given recent developers more ways of integrating media technologies, but this is not trivial even with such tools. Nevertheless, the combining of ....

Murray, J.H. Hamlet on the Holodeck: the future of narrative in cyberspace. The Free Press (Simon and Schuster), New York (1997)

.... entranced attachment to the objects in that reality in other words, the addictive trance that gamers fall into for hours at a time. And agency is the player s delight in having an effect on the electronic world, which is possible because the player is a free agent who can make choices. [19] 7.AGENCY, IMMERSION, AND RAPTURE The term agency must be regarded as more than just an alternative term for interactivity, since it encompasses elements of narrativity and openness as well. Therefore, Murray s terminology seems to be predestined to take a closer look at the connections between ....

MURRAY, JANET (1997): Hamlet on the Holodeck: The Future of Narrative in Cyberspace, The Free Press, New York

....Since our goal is not story generation, but rather guiding interactive drama, we use Propp s work to create rules and algorithms for the run time engine instead of defining a grammar. The application of Propp s morphological approach to interactive storytelling was suggested and sketched by Murray [7]. Propp defines function as follows: Function must be taken as an act of dramatis personae, which is defined from the point of view of its significance for the course of action of a tale as a whole [4] Propp uses capital letters to denote functions. For example, A represents a function in ....

J MURRAY, Hamlet on the Holodeck: The Future of Narrative in Cyberspace, MIT Press, Cambridge, MA, 1998.

....considers such things. New applications may be designed to induce empathy, or use irony to enliven the space. They may encourage users to attribute intelligence and in general anthropomorphic qualities to the system [27] they may allow for a more narrative, subjective, interactive experience [28], they may induce both negative and positive affective responses in the users e.g. 29] This is a whole new bag for the field of human computer interaction, and so we turn to other areas where entertainment is in the focus hoping to borrow some of their principles, and learn from their successes ....

Murray, J., Hamlet on the Holodeck: The Future of Narrative in Cyberspace. 1997, Cambridge, Mass.: MIT Press.

.... 1953) and as anything people attend to simply because it interests them, Langer, 1953) Whitehead defines entertainment as what people do with their freedom (Langer, 1953) Throughout our design process, we have repeatedly been told by web designers and by the literature (Laurel, 1993, Murray, 1997) that people are entertained by computers only when actively interacting with the content. The classic examples of this kind of entertaining experiences are video games, role playing games, and chat rooms. In general, we can say that people are entertained when they are voluntarily undergoing an ....

Murray, J.H. (1997). Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York, NY. The Free Press.

....then the concept of a watchable , TV like web experience is a contradiction in terms. In fact, throughout the development of the project described in this paper, web designers repeatedly told us that people are entertained by computers only when actively interacting with the content (see also [2, 16]) This belief is strengthened by the repetitive failures of the traditional entertainment industry to create web entertainment. The first cycle, fueled by the success of the The Spot (www.spot.com) and by the MIT Media Lab preaching for interactive TV, failed spectacularly in 1997 both for ....

....the shorter the duration the better, and that an optimal length of time may be around 5 minutes. 7 Discussion Is the web an interactive medium Most certainly yes, but not exclusively, as this research shows that there seems to be space for watchable experiences. However, both the literature [14, 16] and our informal experience with web designers during the project suggest a strong disbelief in TV like experiences on the web. As an example, a researcher in the field replied to the verbal exposition of our results with the comment I hope you are wrong. A possible reason for this kind of ....

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J. Murray. Hamlet on the Holodeck: the Future of Narrative in Cyberspace. The Free Press, Simon & Schuster, New York, New York. 1997.

....of the background anywhere on his her clothing. If the space is to be used as an interactive environment, the color methods as well as the rear light approach have an obvious technological crutch on display for all to see. Immersion is a strong requirement when building interactive environments [6], and part of this illusion may be broken if such walls are incorporated. One slight variant of the chroma keying method is known as background subtraction. Here a snapshot of the environment with no people inside is stored as a reference image. Then, any video image seen later (containing ....

Murray, J. Hamlet on the Holodeck: the Future of Narrative in Cyberspace. The Free Press, Simon & Schuster, 1997.

....is clearly contentious. Perlin and Goldberg [125] as well as Bates et al. 14] built (semi ) autonomous computer actors where the story was distributed among characters or seen as the natural result of the interaction between the characters and the user. However, as noted by Langer [83] and Murray [109], well constructed stories require coordination and synchronicity of events and coincidences; also, dramatic actions have to forecast the future, especially in the context of theatrical stories. To answer these concerns, we have proposed a three level architecture for story driven interactive ....

....that immerse the users in a story that develops partially in response to Chapter 6 Story Driven Spaces 157 the users actions and partially as a consequence of a sequence of events pre determined by the designers of the space. Interactive stories and narratives is still a genre to be born. In [109], Janet Murray analyses different aspects and experiences about how to create a story that changes in response to user actions and or wishes. She observes that there are particular narrative genres that are more suitable for interaction, such as journey narratives. In particular, Murray studies ....

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J. Murray. Hamlet on the Holodeck: the Future of Narrative in Cyberspace. The Free Press, Simon & Schuster, New York, New York. 1997.

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Murray, J. H. 1997. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York: Free Press.

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Murray J (1998) Hamlet on the Holodeck: The Future of Narrative in Cyberspace. MIT Press, Cambridge, MA

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Murray, Janet. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York: Free Press, 1997. 9.0 REFERENCES 129

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Murray, J. (1998). Hamlet on the Holodeck: The Future of Narrative in Cyberspace. MIT Press; ISBN: 0262631873.

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Murray, J. H. (1997). Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Cambridge, MA, MIT Press.

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Murray, J.: Hamlet on the Holodeck: The Future of Narrative in Cyberspace. MIT Press, Cambridge (1997)

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