Stand close to me, Starbuck; let me look into a human eye; it is better than to gaze into sea or sky; better than to gaze upon God.  By the green land; by the bright hearth-stone!  This is the magic glass, man; I see my wife and my child in thine eye.  No, no; stay on board, on board!—lower not when I do; when branded Ahab gives chase to Moby-Dick.

Starbuck, when branded in on board!—lower into and chase the magic thine human a green to Moby-Dick the hearth-stone!  This is my child.  By close gaze stand into sea or sky; than to me, glass eye.  No, not where on board, Ahab me; stay I do; better God gaze to let land; it is better to look eye; upon by the man; I see no than my wife bright gives. 

 And a small sampling of the binary: 

01010011 01110100 01100001 01101110 01100100  01100011 01101100 01101111 01110011 01100101 01110100 0110111101101101 0110010101010011 01110100 011000010 01110010 01100010 01110101 01100011 01101011 01101100 01100101 01110100 01101101 01100101 01101100 01101111 01101111 0110101101101001 01101110 01110100 011011110110000101101000 01110101 01101101 01100001 0110111001100101 01111001 0110010101101001 0111010001101001 01110011

 (Which goes until only just after the second semicolon.)

–Alison

New World

Have a great break and a wonderful holiday!

~Kat =^.^=

knightsofsunshine.com

You can also get to the site through google….just type in “The Knights of Sunshine”

-Hilary

 http://z11.invisionfree.com/hogwartslschool

To log in to see the rest of the forum:

username: new_media
password: 123

 -Manda

Feel free to more fully explore.
Hint: Don’t ever go back.
Faye

View Anne’s Site

Here’s the link to my final project (the cut-up poetry hypertext):
http://www1.hollins.edu/classes/eng264/manns/Required%20Authors.htm

Enjoy!

-Sarah

“Interactivity is almost the opposite of narrative; narrative flows under the direction of the author, while interactivity depends on the player for motive power.” (Adams 1999)

Spatial/Environmental storytelling: “When we refer to such influential early works as Shigeru Miyamoto’s Super Mario Bros. as “scroll games,” we situate them alongside a much older tradition of spatial storytelling: many Japanese scroll paintings map, for example, the passing of the seasons onto an unfolding space.”

Environmental Storytelling: “Don Carson, who worked as a Senior Show Designer for Walt Disney Imagineering, has argued that game designers can learn a great deal by studying techniques of “environmental storytelling,” which Disney employs in designing amusement park attractions. Carson explains,
The story element is infused into the physical space a guest walks or rides through. It is the physical space that does much of the work of conveying the story the designers are trying to tell…. Armed only with their own knowledge of the world, and those visions collected from movies and books, the audience is ripe to be dropped into your adventure. The trick is to play on those memories and expectations to heighten the thrill of venturing into your created universe. (Carson 2000)”
Narrative can also enter games on the level of localized incident – Eisenstein, The Battleship Potemkin (1925)

“Eisenstein intensifies our emotional engagement with this large-scale conflict through a series of short narrative units.”

“Eisenstein used the term “attraction” to describe such emotionally packed elements in his work; contemporary game designers might call them “memorable moments.” Just as some memorable moments in games depend on sensations (the sense of speed in a racing game) or perceptions (the sudden expanse of sky in a snowboarding game) as well as narrative hooks, Eisenstein used the word “attractions” broadly to describe any element within a work that produces a profound emotional impact.”

To continue with the detective example, then, one can imagine the game designer as developing two kinds of narratives — one relatively unstructured and controlled by the player as they explore the game space and unlock its secrets; the other prestructured but embedded within the mise-en-scene awaiting discovery. The game world becomes a kind of information space, a memory palace (“embedded narrative”)

Game designers study melodrama for a better sense of the “external projection of internal states” – how artifacts and spaces contain “affective potential.”

One of my theses regarding new media environments: They re-order through material interfaces the relationship between embodiment, space, time, and perceptual “attractions,” thus enacting new models of “affective potential.”

Memory palaces/theatres

The Memory Theater of Giulio Camillo

http://www.wikihow.com/Build-a-Memory-Palace

http://kelty.rice.edu/375/lectures/camillo0212.html

http://cotati.sjsu.edu/spoetry/folder6/ng6211.html

Largely, I want to look at how people interact with a website with all the various forms of information I’m hoping to put up. I suppose I’m also looking at HTML coding and all that comes with it.