Titlebook: Interactive Dramaturgies; New Approaches in Mu Heide Hagebölling Book 2004 Springer-Verlag Berlin Heidelberg 2004 Internet.Textur.computer.

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Introduction Aspects of Interactive Dramaturgiesture their form and contents and the strategies they employ for conveying it are all subject to their own rules and regularities. Nonetheless, they do adhere to dramaturgic principles that, on the one hand, can be derived from the most diverse of narrative traditions and rituals, but, on the other h

Blazon

Elements of a History of Interactive Dramaturgyistic forms. At the same time, it is a history of rites, dramatic creations, and media. Numerous elements of a dramaturgy of interactive media are components of these historical experiences: one could call them cultural fingerprints. To date, their historicity has been the subject of little analysis

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Dialogue with Machinesctly obeying predefined commands and answering simple queries within a single logic domain. This mode of communication is not even at the linguistic level of the stone ages. The issue here is whether computers based on closed logic are principally able to develop a genuine ability for dialogue. The

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Infant

Setting the Stage for Interaction-narrative, a storyteller, a dramaturge responsible for setting the stage etc. This paper explores the ways in which the paradigm of the storyline and, as a consequence of dramaturgy, have been called into question in recent years by an increased emphasis on user-driven strategies which alter and oc

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Interactive Narrative and Integrated Applications in a Museumresents a challenge to museums that want to share their rich visual documentation with a general audience. Open-architected applications and a good understanding of audience go a long way toward meeting this challenge and at the Getty have helped create the critical infrastructure that supports the

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Action, Adventure, Desireg interactive possibilities they provide. This results in three basic types of games: action games, adventure games, and strategy games. This conclusion is reached and accounted for on the basis of the science of labor (time-and-motion studies), theatrical and narrative theory, and cybernetics. . in