{"title":"情感的方式:互动纪录片如何影响互动者的感受体验和表现","authors":"Patrícia Nogueira","doi":"10.1386/ncin_00004_1","DOIUrl":null,"url":null,"abstract":"This article intends to explore how interactivity and new technologies promote new spectatorship performances and subsequently affect the interactor’s subjectivity. Through the analysis of three interactive documentaries, I propose and describe a taxonomy for addressing\n the felt experience of interacting in digital environments. Each selected documentary corresponds to a different mode of interaction and, therefore, engages the audience in a particular way: Bear 71 (hyperlink mode), Fort McMoney (conversational mode) and A Journal of Insomnia\n (participative mode). Throughout the analysis, I consider the interactor and the digital object as two interrelated and dependent entities that influence and shape one another. I argue the objects of interaction affect the viewers by inducing bodily felt sensations and shaping their\n subjectivity. As so, the sensuous encounter between the interactor and the digital documentary provides a virtual gratification for the spectator’s performance. Delving into a phenomenological and post-phenomenological investigation, I focus my attention in the microperceptions, as structures\n of sensory perception in the bodily dimensions of experience, translated as senses. As fragmented, multilinear and dynamic forms, interactive documentaries provide the audience with the agency of manipulating and developing the narrative, while conversely engender in the interactors what I\n address as ways of affection. I propose or adapt eight digitally disrupted and induced sensations, or senses of, for describing how interactive documentary affects users during the interaction performance: sense of control, sense of presence, sense of Self, sense of place, sense of\n belonging, sense of almightiness, sense of endlessness, sense of incompleteness.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"17 1","pages":"49-68"},"PeriodicalIF":0.0000,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ncin_00004_1","citationCount":"2","resultStr":"{\"title\":\"Ways of affection: How interactive documentaries affect the interactor’s felt experience and performance\",\"authors\":\"Patrícia Nogueira\",\"doi\":\"10.1386/ncin_00004_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article intends to explore how interactivity and new technologies promote new spectatorship performances and subsequently affect the interactor’s subjectivity. Through the analysis of three interactive documentaries, I propose and describe a taxonomy for addressing\\n the felt experience of interacting in digital environments. Each selected documentary corresponds to a different mode of interaction and, therefore, engages the audience in a particular way: Bear 71 (hyperlink mode), Fort McMoney (conversational mode) and A Journal of Insomnia\\n (participative mode). Throughout the analysis, I consider the interactor and the digital object as two interrelated and dependent entities that influence and shape one another. I argue the objects of interaction affect the viewers by inducing bodily felt sensations and shaping their\\n subjectivity. As so, the sensuous encounter between the interactor and the digital documentary provides a virtual gratification for the spectator’s performance. Delving into a phenomenological and post-phenomenological investigation, I focus my attention in the microperceptions, as structures\\n of sensory perception in the bodily dimensions of experience, translated as senses. As fragmented, multilinear and dynamic forms, interactive documentaries provide the audience with the agency of manipulating and developing the narrative, while conversely engender in the interactors what I\\n address as ways of affection. I propose or adapt eight digitally disrupted and induced sensations, or senses of, for describing how interactive documentary affects users during the interaction performance: sense of control, sense of presence, sense of Self, sense of place, sense of\\n belonging, sense of almightiness, sense of endlessness, sense of incompleteness.\",\"PeriodicalId\":38663,\"journal\":{\"name\":\"New Cinemas\",\"volume\":\"17 1\",\"pages\":\"49-68\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1386/ncin_00004_1\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"New Cinemas\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/ncin_00004_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"New Cinemas","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/ncin_00004_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 2
摘要
本文旨在探讨互动性和新技术如何促进新观众的表演,进而影响互动者的主体性。通过对三部互动纪录片的分析,我提出并描述了一种分类法,用于解决在数字环境中互动的感觉体验。每一部选定的纪录片都对应着不同的互动模式,因此以一种特定的方式吸引观众:Bear 71(超链接模式)、Fort McMoney(对话模式)和a Journal of Insomnia(参与模式)。在整个分析过程中,我认为交互体和数字对象是两个相互关联和相互依存的实体,它们相互影响和塑造。我认为互动的对象通过诱导身体感觉和塑造他们的主体性来影响观众。因此,互动者和数字纪录片之间的感官相遇为观众的表演提供了一种虚拟的满足。在进行现象学和后现象学研究时,我将注意力集中在微观感知上,作为体验身体维度中的感官感知结构,翻译为感官。作为碎片化、多语言化和动态化的形式,互动纪录片为观众提供了操纵和发展叙事的媒介,同时反过来在互动者中产生了我所说的情感方式。我提出或改编了八种数字干扰和诱导的感觉,或的感觉,来描述互动纪录片在互动表演中如何影响用户:控制感、存在感、自我感、位置感、归属感、接近感、无尽感、不完整感。
Ways of affection: How interactive documentaries affect the interactor’s felt experience and performance
This article intends to explore how interactivity and new technologies promote new spectatorship performances and subsequently affect the interactor’s subjectivity. Through the analysis of three interactive documentaries, I propose and describe a taxonomy for addressing
the felt experience of interacting in digital environments. Each selected documentary corresponds to a different mode of interaction and, therefore, engages the audience in a particular way: Bear 71 (hyperlink mode), Fort McMoney (conversational mode) and A Journal of Insomnia
(participative mode). Throughout the analysis, I consider the interactor and the digital object as two interrelated and dependent entities that influence and shape one another. I argue the objects of interaction affect the viewers by inducing bodily felt sensations and shaping their
subjectivity. As so, the sensuous encounter between the interactor and the digital documentary provides a virtual gratification for the spectator’s performance. Delving into a phenomenological and post-phenomenological investigation, I focus my attention in the microperceptions, as structures
of sensory perception in the bodily dimensions of experience, translated as senses. As fragmented, multilinear and dynamic forms, interactive documentaries provide the audience with the agency of manipulating and developing the narrative, while conversely engender in the interactors what I
address as ways of affection. I propose or adapt eight digitally disrupted and induced sensations, or senses of, for describing how interactive documentary affects users during the interaction performance: sense of control, sense of presence, sense of Self, sense of place, sense of
belonging, sense of almightiness, sense of endlessness, sense of incompleteness.