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¤@¯ë¹q¸£¿Ã¹õ¤Wªº¾Þ§@¤¶­±¡] interface ¡^¡A¨ä¥\¥Î»P«ü¥Ü³q±`«D±`©ú½T¡AµM¦Ó¦b·s¤@¥N¶W¤å¥»¤å¾ÇùØ¡A¤w³QÂà¤Æ¬°Ä´³ë²Å¸¹¡A¨ä«ü¯A¹ï¶H¥¼¥²©ú½T¡C¤¶­±³]­p·í¤¤¡A³Ì¨üÃöª`ªº¾Þ§@¶µ¥Ø¤§¤@¬O¡u¤¬°Ê¡v¡] interactivity ¡^¡A¦¹¤@¦¨¤À¦b¹q¸£¹CÀ¸¡]©ÎºÙ¹qª±¡^¤¤¤×¨ü­Ê­«¡Cªñ¨Ó²K¤J¹CÀ¸§Î¦¡ªº¼Æ¦ì¤å¾Ç§@«~¡A¤]¶}©l¥X²{¡C¹CÀ¸¦¨¤ÀªºÂç²M¡B¤å¾Ç»P¹CÀ¸ªº§Î¦¡¿Ä¦X¡A¦¨¬°¤å¾Ç¬ã¨sªº·s½ÒÃD¡C¬°¤FÁA¸Ñ³o¨Ç·s»â°ì¡A¥»¤å¥ýµÛ¤â¤ÀªR¤¶­±³]­p¦b³nÅé·~¬É»P¤å¾Ç¬ÉªºÀ³¥Î±¡ªp¡A¥H¤Î¾ã²z¼Æ¦ì¤å¾Ç¤¤ªº¹CÀ¸§Î¦¡¡C¤§«á¡A¥»¤å±N°Q½×µJÂIÂê©w©ó¡u¦A²{¡v»P¡u¼ÒÀÀ¡v¨âºØªí²{§Î¦¡ªº¿Ä¦X¡] the interlaced poetics of representation and simulation ¡^¡C¦A²{¬°¶Ç²Î¤å¾Ç¥D­nªº°T®§¶Ç¹F¤è¦¡¡A¼ÒÀÀ«h¬°¨î°Ê¤å¥»¡] cybertext ¡A¦pµøı«¬¹qª±¡^ªº¥D­nªí²{¼Ò¦¡¡C¥»¤å±´´ú¦¹¤G§Î¦¡ªºµ²¦XÅé¡A¦P®É­Ý¤Î¡u¶W¶V¥é¨v¼ÒÀÀ¡v¡] beyond literal simulation ¡^ªº°Q½×¡A¸ÑªRÃÀ³N®a¦p¦ó´£ª@¼ÒÀÀ§Î¦¡ªºÃÀ³N¼h¦¸¡C
¡@¡@ ¥Ñ©ó play »P game ªº¤¤Ä¶¬Ò¬°¹CÀ¸¡A¦ý©w¸q²¤¦³¤£¦P¡A¦b¥»¤å´£¨Ñ§¹¾ã»¡©ú¤§«e¡A¬°¨D¤À¿ë¡A¼È±N play Ķ¬°¼^ª±«¬¹CÀ¸¡A§â game Ķ¬°Ävª±«¬¹CÀ¸¡C¦Ó¦³Ãö¶W¤å¥»»P¨î°Ê¤å¥»¤Gµüªº¥Îªk¡A¥»¤å±Ä¨È·æ´µ¡] Espen J. Aarseth ¡^ªº¬Ýªk¡A±N¶W¤å¥»µø¬°¨î°Ê¤å¥»ªº¤@ºØ¡] 1997 ¡^¡C

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1 ¤@¡B¡u¤¶­±§Y¤º®e¡v¡] "Interface as Content" and Beyond ¡^

¤H¾÷¤¶­±ªº³]­p¡A¦V¨Ó¬Oµ{¦¡³]­p®v©M¼Æ¦ìÃÀ³N®aµ±ºÉ¸£¥Ä¡B¶OºÉ¤ß¤Oªº¤u§@­«ÂI¡C®Ú¾Úùѻ¡] Brenda Laurel ¡^ªºÆ[¹î¡A¤¶­±³]­p¾ú¸gºt¶i¡A¨ä©w¸q¤w²£¥ÍÅÜ­²¡C¦­´Áªº©w¸q¤j­P¬O¡G¡u¤H¾÷·¾³q¤§¶¡©Ò¨Ï¥Îªº³nµwÅé¡v¡C¦p¤µ¡A¤¶­±¤@µüªº¤º²[µÛ­«¡u¨Ï¥ÎªÌªº»{ª¾»P±¡ºü­±¦V¡v¡A¨Ã¥H¡u´£ª@¨Ï¥ÎªÌªº¯à¤O¡v¬°¥Ø¼Ð¡] 1990: xi ¡^¡Cùѻ¡m¤¶­±³]­pªºÃÀ³N¡n¡] The Art of Human-Computer Interface Design ¡^¤@®Ñ¡A¤E¢¯¦~¥Xª©¡A©Ò¦¬¯Çªº±M·~¤å³¹¡A¥þ³¡¥H¡u¤Íµ½ªº¤¶­±¡v¡] user friendly ¡^¬°°Q½×¥DÃD¡A´£¥X¦hºØ¤¶­±¦b¹ê»ÚÀ³¥Î¤WªºÄ³ÃD¡C¬Û¸û©ó³nÅé·~¬Éªº¦¨´N¡A¤E¢¯¦~¥Nªì´Á¶W¤å¥»¤å¾Çªº¤¶­±À³¥Î¡A¾ãÅé¦Ó¨¥¡A´¶¹M¯Ê¥F·Q¹³¤O¡AÃÀ³N¼h¦¸¤£°ª¡C

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2 ®Ú¾Ú¤B¥i©Ô¡] Söke Dinkla ¡^¤E¥|¦~ªº³ø§i¡A²Ä¤G¥N¤¬°ÊÃÀ³Nªº´X­Ó½d¨Ò¡A¡u©Ò®i²{¥X¨Óªº¤¶­±³]­pªºÆ[©À¡A¥H¤Î»P¦¹¬ÛÃöªº¤¬°Ê³]­p¡A¤w·U¨Ó·Uºë½o©M¦h¼Ë¤Æ¡v¡] 1994: section 7 ¡^¡C¥t¥~¡A±j´Ë¡] Steven Johnson ¡^¦b¤E¤C¦~¤]ª`·N¨ì¡u¤p»¡®a¡Bºô­¶³]­pªÌ¡B¼Æ¦ìÃÀ³N®a¤w¶}©l¼ç¤ß©ó¶}©Ý¶W³sµ²ªº»yªk»P¥yªk¡v¡] 1997: 111 ¡^¡C¤W­z¤G®aªº¼ÖÆ[¬Ýªk¦³¨ä¨Ì¾Ú¡A¦ý¶W¤å¥»»P¨ä©Ò±H¨­ªº¬ì§Þ´CÅé¡A¤§¶¡¤´¦s¦b½Ñ¦h»Ùê¡Aµ¥«Ý§JªA¡A¤D¤£ª§ªº¨Æ¹ê¡C´N¦p³ì¥ì«ä¡] Michael Joyce ¡^§ã­n«ü¥Xªº¡G¡u¦b§Ú­Ìªº¬ì§Þ¥@¬öµÞªÞ´Á¡A«ÜÃø¤@¤U¤l¨«¤Ó»· ¡K¡K ¡v¡]¤Þ¦Û Moulthrop 1997: hgs0a8.html ¡^¡C°£¤Ö¼Æ¨Ò¥~¡A¦­´Áªº¶W¤å¥»¤å¾Ç¤jÅé¤W¬O¦h¦Vªº¯Â¤å¦r±Ô¨Æ§@«~¡A¨ä¤¤ªº¤¶­±´X¥G¤@¦¨¤£Åܦa®M¥Î³nÅé·~¬É©Ò»s©wªº½d¦¡¡C¥H¤¶­±³]­p¤¤³Ì±`¨£ªº¶W³sµ²¬°¨Ò¡A¨ä¦b§@«~¤¤ªº¥\¯à¡A¶È¬O¥Î¨Ó³sµ²¨â­Ó­¶¤ù¡] lexia ¡^¡A¥»¨­¨Ã¤£§t±a¥ô¦óÃÀ³N¦¨¤À¡C

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3 §Ú´¿°Q½×¹L¥Öº¸¡] Richard Pyrill ¡^¡qÁÀ¨¥¡r¡] "Lies" ¡^³o­Ó¥ýÅX½d¨Ò¡A«ü¥X¨ä¤¤¤À§O©R¦W¬°¡uÁÀ¨¥¡v»P¡u¹ê¸Ü¡vªº¨â­Ó¶W³sµ²¡A¥»¨­°£¾á¥ô¸ê°T¤Á´«¤u§@¤§¥~¡A¥ç§tÃöÁp©ÊªºÃÀ³N·Q¹³¡A§O¨ã³Ð·N¡A¶}±Ò¤F·sªº³Ð§@¤è¦V¡]§õ¶¶¿³ 2000 ¡A¬q½X 18-20 ¡^¡C¡qÁÀ¨¥¡rªº¤¶­±§t¦³Â×´I·N²[¡AÁô¬ù©IÀ³¬¥§J¤ñ¡] David Rokeby ¡^¡u¤¶­±§Y¤º®e¡vªº·§©À¡C

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6 ¤¶­±³]­p·í¤¤¡A³Ì¨üÃöª`ªº¶µ¥Ø¤§¤@¬O¡u¤¬°Ê¡v©Î¡u¨î°Ê¡v¡] ergodicity ¡^ {2} ¡C¹qª±¤¤¦UºØ¬¡°Êªº¶i¦æ¡A¤×¨ä­Ê¿à¤¬°Ê³]­p¡A¥¦´X¥G¬O¨ä¾l¦¨¤À¦@¦P¤ä´©ªº®Ö¤ß¡C¨î°Ê¤å¥»·í¤¤ªº¤¬°Ê§Î¦¡¥i¨Ì¨È·æ´µ¡u¨Ï¥ÎªÌ¥\¯à¡v¡] user functions ¡^ªººØÃþ¥[¥H¤ÀÃþ¡] 1997: 64 ¡^¡CµÜ®¦¡] Marie-Laure Ryan ¡^´¿ª`·N¨ì¡A¡u¨Ï¥ÎªÌªº¿é¤J¡v·|³y¦¨¤å¥»ªºÅܤơA¦]¿é¤Jµ¦²¤ªº¤£¦P¡A¦Ó¦³¤£¦P¤å¥»ªº²£¥Í¡] 2001: 73-6 ¡^¡C¦o©Ò¾ã²z¥X¨Óªº¦U¦¡¿é¤Jµ¦²¤¡A¤]¥i·í§@¬O¨î°Ê¤å¥»ªº¤ÀÃþ¨Ì¾Ú¡C¤W­z³o¨â¦ì¾ÇªÌªº¤ÀÃþ¤è¦¡¡A¹ï¤¬°Ê§@¬°¤@ºØªí²{§Î¦¡ªº½ÆÂøijÃD¡A¨ã¦³¬YºØµ{«×ªºÂç²M§@¥Î¡CµM¦Ó¨â¤H¹ï¤¬°Ê§Î¦¡ªº¬ü¾Ç°Q½×¤´¶û«]­­¡A³¡¤À­ì¦]¬O¥i¨ÑÅçÃÒªº·s½d¨Ò«D±`¦³­­¡C¦P¦æ¤¤ªº³Ç¥X¾ÇªÌ¡A¤j³£±Mª`©ó±´°Q¶W¤å¥»ªº¤å¤Æ­±¦V¡A¹ï©ó¬ü¾Ç³¡¤À¡A³£¶ÈÂI¨ì¬°¤î¡C³ì¥ì«ä¡] 1995; 2000 ¡^©M¹D®æ©Ô«ä¡] J. Yellowlees Douglas 2000 ¡^¥i¿×¨â­Ó¨Ò¥~¡A¦ý¥L­Ì³B²zªº¶W¤å¥»¹ï¶H¶È­­©ó¯Â¤å¦r§@«~¡C

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8 ³Íù¥ì¡] Roger Caillois ¡^¡m¹CÀ¸¬ã¨s¡n¡] Man, Play and Games ¡^¤@®Ñ¡A±q¦UÃþ¹CÀ¸ªº¤º®e»P§Î¦¡¡AªR¥X¼^ª±¡] paidia ¡^»PÄvª±¡] ludus ¡^¨âºØ¬Û»²¦ý¤S¹ï¥ßªº¯S¼x¡A¨Ã±N¦¹¤G¯S¼xªº¦UºØ¤ñ¨Ò²V¦XÅé¡A±Æ¦C¦¨¤@¥úÃСA¥Î¥HÀËÅç¹CÀ¸ªºÃþ§OÄÝ©Ê¡] 2001: 36 ¡^¡C²¨¥¤§¡A¼^ª±»PÄvª±¤À§O¬O play »P game ¬¡°Êªº¥D­n®T¼Ö¯S¼x¡A¦³®É¬Æ¦Ü³Qµø¬° play »P game ªº¦P¸qµü¡C¤§¶¡ªº·¥ºÝ®t²§¬O¡AÄvª±ªº©w¸q¥]§t¿éĹ©ÎÃþ¦üªº¤G¤¸¹ï¥ß¥Ø¼Ð¡A¼^ª±«hµL¡] Andre Lalande 1928 ¡A¤Þ¦Û Frasca 1998 ¡^¡C¦¹¤@¼^ª±¡þÄvª±¥úÃйï©ó¥Ø«eªºµøı«¬»P¤å¦r«¬¹qª±¬ã¨s¡A¦bÃþ§O©Ê½è°Ï¤À¤W¡A¯à°÷´£¨Ñ¤@­Ó²M´·ªº§PÂ_«ü¼Ð¡C¨C¤@³¡¹qª±³£§t¦³¼^ª±©MÄvª±¦¨¤À¡Aµy¥[¤À¿ë¨ä¤¤ªº¼^ª±»PÄvª±¾É¦Vªº°¾±×«×¡A«K¥i¦b¥úÃФW¬°¨ä©w¦ì¡C¶ðªL¡] Talin ¡^¤]´£¥X¤@­ÓÃþ¦üªº¥úÃСA¥H¡u¤¬°Ê¡v©M¡u¬G¨Æ«¬¡v¡] storytelling ¡^·í§@¨â­Ó¹ï¥ßªº°Ñ¦ÒÂI¡C¡u³q±`¡A­Y¹qª±§t¦³¥J²Ó½s¼gªº¼@¥»¡B³õ¦¸±Æ¦C¦³§Çªºµ²ºc¡A«hÄÝ©ó¾a¥kÃä¡e¬G¨Æ«¬¡fªº¶µ¥Ø¡A¯Ê¥F³o¼Ëµ²ºcªº¹qª±¡A«hÄݾa¥ªÃä¡e¤¬°Ê¡fªº¶µ¥Ø¡v¡] 1998: 154 ¡^¡C

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10 ¼^ª±¦¨¤À¦b¶W¤å¥»§@«~¤¤«hÀH³B¥i¨£¡A¨Ò¤l¹³¡m¹p®Ú¹Ï®ÑÀ]¡n¡] Mouthrop, Reagon Library , 1999a ¡^ªºÀH¾÷³sµ²¡B¡q¹ÚÅâ¡B¬y®ö¡B¤÷¿Ë¡Bºq¡r¡] Curtis Harrell, "Nightmare Wanders Father Song" ¡^ÅýŪªÌ¦b¶Â·tµe­±¤¤´M§ä¥X¤f¡B¤Ý¸Þªº·Æ¹«³]­p¡] mouseover ¡^¡B«÷¶K¾÷¾¹¡] cutup generators ¡^µ¥³£Äݼ^ª±Ãþ¡C±N¼^ª±»PÄvª±¦¨¤Àµ²¦X°_¨Ó¤]¬O±`¨£ªº¨Æ¡C³o¬O¦]¬°¡uÄvª±¥»¨­´N¬O¤@ºØ¸û¿W¯Sªº¼^ª±¡A¨ä¬¡°Êªº¶i¦æ¡A¿í´`¤@®M¯à°õ¦æ¿éŵ²ªGªº³W«h¡v¡] Andre Lalande 1928 ¡A¤Þ¦Û Frasca 1998 ¡^¡C³o¼Ë»¡¨Ó¡A¡m¦è¥_©¤ªºª©µe®a¡n¡B¡m¤dÁH¤Ñ¨Ï¡nµ¥±´¯Á«¬ªº¤å¾Ç¹qª±µ¥³£À³¥Î¤F¤@ºØ¸û¿W¯Sªº¼^ª±¦¨¤À¡C­Y­n¥J²Ó¤À¿ì¡A³o¨â³¡§@«~Áö¨ã¦³½T©wªºÄvª±¥Ø¼Ð¡A¦ý¨ä¤¤ªº±´¯Á¸ô®|¥Rº¡¼^ª±©Ê½è»P­È±o»{ÃѪº¨Æª«¡A¦]¦¹µL§Î¤¤­n¨D¨Ï¥ÎªÌ¤£Â_¤ÏÂдú¸Õ¡C³o¼Ëªº¹CÀ¸ºA«×¤]¬O³o¨â³¡¨|±Ð«¬§@«~¹w³]ªº¤¬°Ê¾Ç²ß¤è¦¡¡C¾ãÅéÆ[¤§¡AÄvª±¥Ø¼Ð¦b³o¨â³¡§@«~ªº¹CÀ¸µ²ºcùØ¡A¥D­n¬O¾á¥ô¦V²×ÂI¯¸±À¶iªºÅX¤O¡A¦Ü©óÅýŪªÌ¬y³s©ó¹CÀ¸ªÅ¶¡ªº»¤¦]¡A«h«D¼^ª±¦¨¤À²öÄÝ¡C©Î»¡¡u¹CÀ¸¹Lµ{¤¤¡A¼^ª±ÅX¤O¦h¤Ö»P¥Ø¼ÐÅX¤O²o§è¦b¤@°_¡A©¼¦¹©Ô©Þ¦V«e¡v {4} ¡C

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11 ¹qª±ªºÄvª±©Ê½è¹ï¶W¤å¥»ªº±Ô¨Æ¾Ç¬ã¨s¡A¤]¥i±a¨Ó±Òµo¡C¥ñ©Ô´µ¥d¡] Gonzalo Frasca ¡^ªº¤ñ¸û«ü¥X¡A¹qª±¯à°÷¥Í²£¡u±Ô¨Æ¡v¡A¬O¥Ñ¤@²Õ¥i¯àªº¾Þ§@¿ï¾Ü¦@¦Pºc¦¨¡] a set of possibilities ¡^¡A¦Ó±Ô¨Æ«h¬°¤@²Õ³sÄò©Êªº¨Æ¥ó¡] a set of chained actions ¡^¡C­Y¥H¨î°Ê¤å¥»·§©À¨Ó¸àÄÀ¡A§Ú­Ì¥i¥H±N¹qª±µø¬°¤@³¡§t¨î°Ê³W«hªº¾÷¾¹¡A¨Ï¥ÎªÌ©Ò¨«¹Lªº¸ô½u¡A¤£ºÞµ²ªG¬O¿é¬OĹ¡B©Î¥b³~¦Ó¼o¡A¦ÛµM§Î¦¨¤@«h±Ô¨Æ¡A¦ý¬°¤F¬ðÅã¨î°ÊÀô¹Òùتº±Ô¨Æ¥Í¦¨©Ê½è¡A¥ñ©Ô´µ¥d¥tºÙ¤§¬°¤@³õ±Ô¨Æ¡] a session of narrative ¡^¡C´«¥y¸Ü»¡¡A¹qª±³o¼Ëªº¨î°Ê¤å¥»¡A¯à¥Í²£³\¦h¡u³õ¡v±Ô¨Æ¡A¦ý¤å¥»¥»¨­¨Ã«D±Ô¨Æ ¡C {5} ¦P²z¡A­Y§â¶W¤å¥»¤]µø¬°¨î°Ê¤å¥»¤§¤@¡A¨º»ò¶W¤å¥»¤]¬O¯à¥Í²£³\¦hºØ¡u§Ç¦C¡v©Î½u©Ê±Ô¨Æ¡] sequential or linear narrative ¡^ªº¾÷¾¹¡A¥»¨­¨Ã«D±Ô¨Æ¡C³o¼Ëªº¤ÀªR¡A¦³®Ä¦a¸ÑÄÀ¤F¶W¤å¥»¤å¾Ç»P¤@¯ë¥­­±¤å¾Çªº®t²§¡C¬J¬O¦p¦¹¡A¾ÇªÌªº¬ã¨s¤èªkÀ³°w¹ï¶W¤å¥»¤å¾Çªºµ²ºc¯SÂI¡A¶}µo¥X¾A¦Xªº¤Á¤J¨¤«×¡C³ì¥ì«äªºíá»Ø¾\Ūªk¡] interstitial reading ¡^¡AµÛ­«©ó¶}µo­¶¤ù¤§¶¡¡]íá»Ø¡^°nµo¥X¨Óªº·s·N¸q¡Aºâ¬O¸û¦­¥X²{¦Ó¥B¸û¦³¨t²Î»¡©úªº¬ã¨s¤èªk¡] Joyce 1995 ¡^¡C¼¯´µ¬¥©Y¶i¤@¨B±Níá»Ø¾\ŪªkÀ³¥Î©ó¹qª±¡m°gÃú¤§®q¡n¨t¦C¡] Myst ¡^ªº°Q½×¡A¦P®É¤]«Ø¥ß°_¤@¸ó»â°ìªº¬ã¨sÅyÀY¡] Moulthrop 1999b ¡^¡C³o¼ËªºÀ³¥Î¤è¦¡¦³¨ä¦Xªk©Ê¡A²z¥Ñ¤§¤@¬O¡A¶W¤å¥»»P¹qª±¤§¶¡¦s¦b«Ü¦h¬Û¦üªº¨î°Ê§Î¦¡¡C

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12 ³Íù´µªº¼^ª±©w¸q¤j­P¬O¡G¡u¼^ª±¬¡°Ê¤£¨ã±j¨î©Ê¡v¡A¡u¦b¦³­­ªº®ÉªÅ¤¤¶i¦æ¡v¡A¡u¼^ª±¸ô®|¶}©ñ¡v¡A¡u±µ¨ü³W«hªº¨î¬ù¡v¡A¡u¦ÛÄ@²×¤îÃhºÃ¼^ª±¤º®eªº¯u¹ê©Ê¡vµ¥µ¥¡] Caillois 2001: 9-10 ¡^¡C¥H¦¹©w¸qÀ˵ø¶W¤å¥»¤å¾Ç¤¤ªº¦h¦V¸ô®|³]­p¡A¤£Ãøµo²{¶W¤å¥»¾\Ū¡þ­«Åª°Ê§@¡] Joyce 1995, 2000 ¡^ªº¸ô®|¿ï¾Ü§Î¦¡¥»¨­´N§t¦³¼^ª±¦¨¤À¡C·í¦P¤@­¶¤ù¤W¡A¶W³sµ²¼Æ¥Ø¤£¤î¤@­Ó¡A«K§Î¦¨¤F¦h¦V¿ï¾Üªº¼^ª±±¡¹Ò¡A¦Ó·í¤@½g¶W¤å¥»¥ÑÃþ¦üªº­¶¤ù»E¶°¦Ó¦¨¡A³o³¡§@«~ªºµ²ºc®t¥i¥H°g°}¡] maze ¡^¨Ó¤ñÀÀ¡A¨ä§t¦³¼^ª±©Ê½è¤£¿ë¦Û©ú¡C¥v»A«¢ºû§J¡] Janez Strehovec ¡^«K³o»ò»{¬°¡G¡u¤å¥»§t¦³¬Y¨Ç³W«h¡A¦bŪªÌ¬ï¶V¡y¤å¥»ªÅ¶¡¡zªº¦P®É¡A¥t´£¨Ñ¤F¦hºØ¿ï¾Ü¡e¦p¸ô®|¡f¡A³o¼Ëªº¤å¥»¹³¬O­Ó¹CÀ¸³õ°ì¡v¡] 2000: 106 ¡^¡C¸ô®|¿ï¾Ü§Î¦¡ªº¨ãÅé¹ê½î¡A¤è¦¡¤§¤@¬O­É§U¶W³sµ²³]­p¡Cªñ¦~¨Ó¡A¦h¼h­±³]­p¡] multi-layer ¡^ªºÀ³¥Î¨³³t«°_¡A¨ä¤¤³z¹L¡u·Æ¹«¨Æ¥ó¡v¡] mouseover event or on-mouse-event ¡^¡A¥i¦P¶Ç²Î¶W³sµ²¤@¼Ë±N¥t¤@­¶¤ù¤Á´«¹L¨Ó¡A¦ý¸û¬°¬ð¥Xªº¦a¤è¬O¡A¥i§âÁôÂéó¦P¤@­¶¤ù¤ºªº¨ä¥¦¼h­±ÄÀ©ñ¥X¨Ó¡C

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13 ¶W³sµ²»P·Æ¹«¨Æ¥ó³]­p¥i²¤¤À¬°«ü¥Ü«¬¡] indicative ¡^©MÃöÁp«¬¡] suggestive ¡^¨âºØ¡A¨ä·Q¹³¼h¦¸¥i¼vÅT¼^ª±±¡¹ÒªºÃÀ³N¼h¦¸¡C¦b¸¯¹pÀÙº¸¡] Loss Pequeño Glazier ¡^ªº¦P¦W§@«~¡q·Æ¹«¨Æ¥ó¡r¡] "Mouseover: Essay in Javascript" ¡^ùØ¡A¥i¬Ý¨ì·Æ¹«¨Æ¥óªºÃÀ³NÂà¤Æ¹B¥Î¡C¸Ó§@«~ªº¹Ï®×¼ÐÃD¤UÁôÂõۨâ¤ù¦P¤Ø¤oªº¼h­±¡A·í·Æ¹«¡]©Î´å¼Ð¡^²¾¨ì¼ÐÃDªº·í¨à¡] on-mouseover ¡^¡A¥ç§Y±N·Æ¹«®¿¨ì·Æ¹«¨Æ¥óªº§@¥Î°Ï®É¡A²Ä¤@¤ù¼h­±«K¯BÅS¥X¨Ó¡A¦Ó¤@¦ý·Æ¹«¤SÂ÷¶}²Ä¤@¤ù¼h­±ªº¦ì¸m¡] off-mouseover ¡^¡A©Î»¡Â÷¶}·Æ¹«¨Æ¥óªº§@¥Î°Ï¡A²Ä¤G¤ù¼h­±¥ß§Y´À¸É¤W¨Ó¡C²¨¥¤§¡AÀHµÛ·Æ¹«¨Æ¥óªºÅÜ´«¡A¦P¤@¦ì¸mªºµe­±¤º®e¶i¦æ¤F¤TºØÅܤơC

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14 ¸¯º¸ÀÙº¸¦b¤º®eÅܤƪº¹Lµ{¤¤¡A¥t´Ó¤J¤F¤@¼h«ÕÀq·P¡C·í·Æ¹«¦ì©ó§@¥Î°Ï®É¡A²Ä¤@¼h­±ªº¤º®e¬O¤@°¦ÂG³Àªº¹Ï®×©M moose ¤@¦r¡A¦Ó·í·Æ¹«²¾¥X§@¥Î°Ï¡A²Ä¤G¼h­±ªº¤º®eÅܦ¨¤@°¦·Æ¹«ªº¹Ï®×©M mouse ¤@¦r¡C¹ï©ó³o¼Ëªº¤º®eÅܤơA§@ªÌ¦Ûµû¡G¡u¦b³o¤@³s¦êªº®Ø®æùØ¡A¦s¦b¤@ºØ«ÕÀq¡C§Úªº·Qªk¬O¡A®Ø®æ¤º®eªºÅܤƷ|«Pµo¤@ªÑ»´ÃP¦n¯ºªº·Pı¡C¦b¡y Mouseover ¡z©M¡y Mooseover ¡zªºÅÜ´«¤§¶¡¡A¥H¯îµÄ¨«½Õªº¤âªk¡A§e²{¥O¤HÃz¯ºªº°Êª«¹Ï®×´À´«¡C¹q¸£ªºÂI¿ï¤u¨ã¥H·Æ¹«©R¦W¡A§Úªº¤å¹Ï¹CÀ¸«K¬O¥H³o­Ó¤å¥»ªº±±¨î¤u¨ã·í§@¥D­nÃD§÷¡v¡] 2002: 121-2 ¡^¡C

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15 ©Ô´Ë¡] Deena Larsen ¡^¡q¥i¯à©ÊªºÆw¨è¡r¡] "Carving in Possibilities" ¡^¬O¥t¤@­Ó½d¨Ò¡A¨ä¤¤¥H·Æ¹«¨Æ¥óªº¸IIJ¨Ó¶i¦æ¤å¥»ªº´¦Åã¡A¹Lµ{¤¤¡A¤@´T­ì¥»¼Ò½k¤£²Mªº­I´º¹Ï¡AÀHµÛ¸IIJ¨Æ¥ó¦¸¼Æªº²Ö¿n¡A½ü¹ø³vº¥©ú®Ô¡A¨ì³Ì«á¡A¤@´T¤j½Ã¥ÛÀJ¹³ªº­±¤Õ²×©ó¯B²{¡C¥Ñ³o­Ó¾Þ§@µ²ªG¡A¦^ÀY«~¨ý¡A³æ¥HÁn­µ¬°¨Ò¡A¨C¤@­Ó·Æ¹«¸IIJ©Ò¤Þµoªº¥¨ÅT¡A³£¥iµø¬°¤@­ÓÆw¨èªº¦^­µ¼ÒÀÀ¡A¦P®É¬O¹ï¡u¯u¬Û¡vªº¨B¨B¹Gªñ¡A¦p¦¹¤£Ãø¬Ý¥X§@ªÌ½á¤©¡u¸IIJ¡v°Ê§@¿W¯S·Q¹³¡A¤£¦A¥u¬O³æ¯Â¥Î¥H´¦Åã¤å¥»ªº«ü¥Ü«¬ªº¥\¯à¤u¨ã¡A¦Ó³s±a¦a¡A¨ä©ÒÀç³y¥X¨Óªº¼^ª±Àô¹Ò¡A³Ìªì­ì¥u¬O¤@¦Û¥ÑºN¯ÁªºªÅ¶¡¡A³v¨BÂà¤Æ¬°Ãþ¦ü´MÄ_¡þ´¦¶}¯u¬Ûªº±´¯Á³õ°ì¡C

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16 ¥t­È±oª`·Nªº¬O¡A·Æ¹«¨Æ¥ó¦b¤å¥»¤¤«Pµo¤F¤@³s¦êªº°T®§¤ºÃz¡] implosion ¡^¡C­º¥ý¡A¦b¡u´CÅé¿Ä¦X¡v¡] remediation ¡^ªº³B²z¹Lµ{¤¤¡A¦U¶µ¤£¦Pªº´C§÷¬Û¤¬¼²À»¡C±µ¤U¨Ó¡A¥Ñ¦U´C§÷ÄÀ©ñ¥X¨Óªº¸ê°T¡A¦b´CÅé¿Ä¦XªºÀô¹Ò¤¤¶i¦æ·¾³q¡C³Ì«á¡A¤TºØ¤£¦Pªº¤å¥»¡A¦b¸g¹L¬Û®eªº´ú¸Õ¤§«á¡A¿Ä¦¨¤@Åé¡C

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17 ¦p¦P¤@³¡¹qª±¡A¶W¤å¥»§@«~¬O¦hºØ±Ô¨Æªº¥Í²£ªÌ¡A¦Ó«D³æ¤@±Ô¨Æªº¸üÅé¡] Frasca 1998 ¡^¡C¦b¤@³¡¥­­±§@«~¤¤¡A¦hºØ¥i¯à¦s¦bªº¤å¥»·N¸qµ¥«Ý¶}µo¡A¦b¤@³¡¶W¤å¥»§@«~¤¤¡A­º¥ý­n¶}µoªº«h¬O¦hºØ¥i¯à¦s¦bªº±Ô¨Æ¡C¤]¦]¦¹¡A¶W¤å¥»§@«~»Ý¨D­«Åª¡A¥H«Kµo±¸·s¾\Ū¸ô½u¡C¥¿¦p³ì¥ì«ä©Ò¹ª§jªº¡G¯u¥¿ªº¶W¤å¥»¾\Ū§Y­«Åª¡] True hypertext reading is rereading, Joyce 1995; 2000 ¡^¡C´«¥y¸Ü»¡¡A¶W¤å¥»¬O¤@­Ó±Ô¨Æªº¼ÒÀÀÀô¹Ò¡] a simulated environment ¡^¡A¥¦ªº¤º®e¤¹³\¨Ï¥ÎªÌ¦P®É¶i¦æ¼^ª±»P¾\Ū¡A¶i¦ÓÅý¨Ï¥ÎªÌ¨Ì¿ï¾Ü¥h»s³y±Ô¨Æ¡C¦b¡u¸`ÂI¡Ð³sµ²¡v«¬ªº¶W¤å¥»¡] node-link hypertext ¡^ùضi¦æ¼^ª±¡Aµ¥©ó¬O¦b²³¦h³sµ²¤¤¶i¦æ¿ï¾Ü¡C³sµ²ªº¿ï¾Ü¥i¯à¬Oº©µL¥Ø¼ÐªºÂI¿ï¡A¤]¥i¯à¬O®Ú¾Ú¾\Ū¤ß±o¦Ó°µªº¨M©w¡C¶W³sµ²ªº¿ï¾Ü¦¸§Ç³q±`¬O¶}©ñªº¡A·Æ¹«¨Æ¥ó«h¥i¥t¼W¥[©T©w«¬ªº²¾°Ê¤è¦¡¡C¨Ò¦p¡q·Æ¹«¨Æ¥ó¡r¡A¤§¤¤¤TºØ·Æ¹«¨Æ¥óªºµo¥Í¦¸§Ç«K¬O©T©wªº¡C

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¤å¾Ç¹CÀ¸¡] literary computer play or games ¡^¥iµø¬°¡u¦A²{¡v»P¡u¼ÒÀÀ¡v¨âºØªí²{§Î¦¡ªºµ²¦XÅé¡C¦A²{¬°¶Ç²Î¤å¾Ç¥D­nªº°T®§¶Ç¹F¤è¦¡¡A¼ÒÀÀ«h¬°¨î°Ê¤å¥»ªº¥D­nªí²{¼Ò¦¡¡C¦A²{ªº©w¸q¬O¡G¡u¥H¤å¦r©Îµøıªº§Î¦¡¡A±Nª«¥ó©Î·§©À§e²{¥X¨Óªº°Ê§@¡v¡] Random House Dictionary ¡^¡C¤p»¡©M¹q¼vµ¥¨Ìªþ©óÃþ¤ñ´CÅ骺±Ô¨Æ¡A³£ÄݦA²{ÃÀ³N¡] representational art ¡^¡C¡u¼ÒÀÀ«h¤£¥u¥]§t¤F¦A²{§Î¦¡¡A¥t«ü¦Vª«¥ó©Î¤@®M¨t²Îªº¦æ¬°¼Ò¥é¡v {6} ¡C³o­Ó§Î¦¡¦b¼Æ¦ì§Þ³Nªº¤ä´©¤§¤U¡AÀ³¥Î½d³ò¤é¯qÂX¤j¡C¨âªÌ¬ü¾Ç·§©À¤£ºÉ¬Û¦P¡A¦p¤µ¦b¤å¾Ç¹CÀ¸§@«~¤¤¦X¦Ó¬°¤@¡A®ÄªG¨s³º¦p¦ó¡A­È±o±´°Q¤@¤U¡C¥H¤U¦UÁ|¼^ª±«¬©MÄvª±«¬¨Ò¤l¨Ó»¡©ú³oºØ²§ÃþÁp«Ãªº§Î¦¡¡C

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¡@ 1. ®w¦ò¤E¤G¦~¦b¯Ã¬ù®É³ø¼¶¤å¤¶²Ð¶W¤å¥»¤å¾Ç¡A¥H¡q®Ñ¤§²×µ²¡r¡] "The End of Books" ¡^¤@¤å¡A¾_¾Ù¤å¾Ç¬É¡C¤dÁH¦~¡A®w¦ò¦b¡m¹}®Æ¡n¡] Feed ¡^ºô¯¸¥Z¥X¡q¤å¾Ç¶W¤å¥»¡G¶Àª÷®É¥N¤w¹L¡r¡] "Literary Hypertext: The Passing of the Golden Age" ¡^¡A¦A«×¤ÞÃz¤å¾Ç¸ÜÃD¡C¸Ó¤å«üºÙ¤é¨£¬y¦æ©ó¶W¤å¥»§@«~¤¤ªº¶W´CÅ馨¤À¡A¶S§í¤F¤å¦rÃÀ³N¡A¨Ï§@«~²_¬°½§²L¡B¨S¦³²`«×·N¸qªº®T¼Ö¡Cµy«á¡A¦èªù¿Õ´µ°ò¡] Roberto Simanowski ¡^¬°¤å¤Ï»é®w¦òªº¬Ýªk¡A«ü¥X·s¬ì§ÞªºÀ³¥Î¡A»P²`«×·N¸qªº°l´M¡A¨âªÌ¨Ã¤£¬Û®¯¡] 2000 ¡^¡C

2. ¥»¤å¹ï¤¬°Ê»P¨î°Ê¤Gµüªº¥Îªk¡A¤£ÀÀ°Ï§O¡C¹ï¨È·æ´µ¦Ó¨¥¡A¤¬°Ê¤@µüªº©w¸q¹L©óÃP´²¡AµLªk·Ç½T´y­z¤H¾÷¤§¶¡ªº¦UºØ¿é¤J¡þ¿é¥XÃö«Y¡A¦]¦¹¥L§ï±Ä ergodic ¤@µü¡] 1997: 49-51 ¡^¡C¤¤¤å¦r¨å¥H¤Î²Î­p¾Ç¬É³£±N ergodic Ķ¬°¡u¹M¾ú¡v¡C¦] ergodic literature ©Ò»Ý¨Dªº¹êÅé°Ê§@¡] physical input ¡^¡Aµ¥¦P¨î°Ê¤å¥»¡] cybertext ¡^¤§¤¤ªº¡u¤¬°Ê¡v¡A¬°¨D²z¸Ñ¤è«K¡A¥»¤åª½±µ±N ergodicity Ķ¬°¡u¨î°Ê¡v¡C

3. ³o­Ó¦¸¤åÃþªº¦WºÙ­º¦¸¥X²{¦b¦w·¡´µ¡] Jim Andrews ¡^¡qºôÃÀ¤§¬P¡r¡] "Webarteroids" ¡^ªº°Æ¼ÐÃD¤W¡C

4. §õ¶¶¿³¡] 2002 ¡A¬q½X 9 ¡^¡CÃö©ó¼^ª±ÅX¤O»P¥Ø¼ÐÅX¤O¦b§@«~¤º³¡¬Û¤¬©Ô§èªº±¡ªp¡A°Ñ¦Ò¸Ó¤å²Ä¤G¸`¡C

5. Frasca (1998) ¡C¥ñ©Ô´µ¥dªº¤ß±o¡A¹ê±Ä¦Û¨È·æ´µªºÆ[¹î¡G¡u¨î°Ê¤å¥»¤D¤@³¡¯à¥Í²£¦hºØ±Ô¨Æªº¾÷¾¹¡v¡] Aarseth 1997: 3 ¡^¡C

6. Frasca (2002) ¡C¥ñ©Ô´µ¥d¡q¼ÒÀÀªì½×¡r¡] "Simulation 101" ¡^¤@¤å¥H·Ï¤æ·í¨Ò¤l¡A»s§@¤F¥­­±ª©©M¤¬°Êª©ªº¸Ñ»¡¡A¥Î¥HÄÄ©ú¦A²{©M¼ÒÀÀ§Î¦¡ªº©w¸q¡A²©ú§ã­n¡A¥i¤Wºô°Ñ¦Ò¡C

7. ¡qºôÃÀ¤§¬P¡r¤w§ïª©¬°¡qÃÀ³N¤§¬P¡r¡] "Arteroids" ¡^¡A«ØijŪªÌ¥ý´ú¸Õ¡qºôÃÀ¤§¬P¡r¡A¦A¥hª±³t«×§ó§Öªº¡qÃÀ³N¤§¬P¡r¡C

8. ³o¨â¥y¸Üªº­^¤å­ì¤å¬°¡G "The battle of Poetry against itself and the forces of dullness." ¥H¤Î "poetry poetry all is poetry destroyed and created."

9. °Ñ¨£ Genette (1980), 85n ¡C¦³Ãö°ï¸m¤âªk¦b¶W¤å¥»§@«~¤¤ªºÀ³¥Î¡A°Ñ¦Ò§õ¶¶¿³¡] 2001 ¡^¡A²Ä¥|¸`¡G¡u°ï¸m¡G¥tÃþ±Ô¨Æ§Î¦¡¡v¡^

10. ¦®Âk©M¦®¦V¬O·¨ªªªºÄ¶ªk¡C¸û±`¨£ªºÂ½Ä¶¬O³ë¦®©M³ë¨Ì¡C

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Works Cited

Aarseth, Espen J. (1997) Cybertext: Perpectives on Ergodic Literature. Baltimore: John Hopkins UP.

----. (1999) "Aporia and Epiphany in Doom and The Speaking Clock : The Temporality of Ergodic Art." Cyberspace Textuality: Computer Technology and Literary Theory . Ed. Marie-Laure Ryan. Bloomington: Indiana UP.

Andrews, Jim. (2001-) "Webarteroids." 1 March 2002 <http://webartery.com/webarteroids/> (This work, retitled "Arteroids," is still in progress)

----. (2001-) "Arteroids." The Remedi Project 11 (2001). 1 March 2002 < http://www.theremediproject.com/projects/issue11/
andrewsarteroids/arteroids.htm >.

Aristotle. Poetics . Trans. S. H. Butcher. 01 Sep 2002 < http://classics.mit.edu/Aristotle/poetics.1.1.html >.

"Bear." Nobody Here . 1 March 2002 < http://www.nobodyhere.com/justme/bear.php3 >.

Caillois, Roger (1958, 1961, 2001). Man, Play and Games . Trans. Meyer Barash. Chicago: U of Illinois P.

Coover, Robert. (2000) "The Passing of the Golden Age." Feed . 1 March 2002 <http://www.feedmag.com/templates/default.php3?a_id=1211>. ¡]ºô¯¸¤wÃö³¬¡^

Dinkla, Söke. (1994) "The History of the Interface in Interactive Art." ISEA'94 Proceedings: The Next Generation . 1 March 2002 < http://www.isea.qc.ca/symposium/archives/isea94/pr208.html >.

Douglas, J. Yellowlees. (2000) The End of Books or Books without Ends: Reading Interactive Narratives . U of Michigan P.

Frasca, Gonzalo. (1998) "Ludology Meets Narratology: Similitude and differences between (video)games and narrative." 1 March 2002 < http://www.jacaranda.org/frasca/ludology.htm >.

----. (2002) "Simulation 101: Simulation Versus Representation." 1 March 2002 < http://www.ludology.org/articles/sim1/simulation101.html >.

Genette, Gérard. (1980) Narrative Discourse: An Essay in Method . Trans. Jane E. Lewin. Ithaca: Cornell UP.

Glazier, Loss Pequeño. (1998) "Mouseover: Essay in Javascript." Electronic Book Review 7. 1 March 2002 < http://www.altx.com/ebr/ebr7/7glazier/index.html>.

----. (2002) Digital Poetics: The Making of E-Poetries . Tuscaloosa: U of Alabama P.

Harrell, Curtis¡@"Nightmare Wanders Father Song." New River 4. 1 March 2002 < http://www.cddc.vt.edu/journals/newriver/4/Nightmare/index.html >.

Johnson, Steven. (1997) Interface Culture: How New Technology Transforms the Way We Create and Communicate . New York: Basic Books.

Joyce, Michael. (1995) Of Two Minds: Hypertext Pedagogy and Poetics . Ann Arbor: The U of Michigan P.

----. (2000) Othermindedness: The Emergence of network Culture . Ann Arbor: U of Michigan P.

Kendall, Robert. (2001-) "Clues." 26 October 2001 <http://www.wordcircuits.com/clues> (work in progress).

Larsen, Deena. "Carving in Possibilities." Frame 6. trAce . 1 March 2002 < http://trace.ntu.ac.uk/frame6/larsen/index.html >.

Laurel, Brenda, ed. (1990) The Art of Human-Computer Interface Design . Berkeley: Addison-Wesley.

Lynn, Vicki. (1999) Guardians of the Millennium . Aug 27. 2001 1 March 2002 < http://www.theguardians.com >.

Manovich, Lev. (2000) Language of New Media . Cambridge: MIT Press.

Moulthrop, Stuart. (1997) Hegirascope 2. 1 March 2002 < http://raven.ubalt.edu/staff/moulthrop/hypertexts/HGS/ >.

----. (1999a) Reagan Library . 1 March 2002 < http://raven.ubalt.edu/staff/moulthrop/hypertexts/rl/index.html >.

----. (1999b) "Misadventure: Future Fiction and the New Networks." Style 33.2: 184-203. Or 1 March 2002 < http://raven.ubalt.edu/staff/moulthrop/essays/misadventure >.

----. (2001) "The World Without Cybertext." 4th Digital Arts and Culture Conference . 1 March 2002 < http://raven.ubalt.edu/staff/moulthrop/talks/dac2001/dac01Text.htm >.

Nimoy, Joshua. "Textension." 01 Oct. 2002. < http://gcs.design.ucla.edu/~jtnimoy/textension/ >.

North West Coast Printmakers . 1 March 2002 < http://kafka.uvic.ca/~maltwood/nwcp/eindex.html >.

Pryll, Rick. "Lies." 1 March 2002 < http://www.users.interport.net/~rick/lies/lies.html >.

read_me festival 1.2. 01 Oct 2002 < http://www.macros-center.ru/read_me/abouten.htm >.

Rokeby, David. (1998) "The Construction of Experience: Interface as Content." Digital Illusion: Entertaining the Future with High Technology . Ed. Clark Dodsworth Jr. New York: ACM Press.

Ryan, Marie-Laure. (2001) "Beyond Myth and Metaphor: The Case of Narrative in Digital Media." Computer Games and Digital Textualities . IT University of Copenhagen.

Simanowski, Roberto. (2000) "When Literature Goes Multimedia: Three German Examples." dichtung-digital . 1 March 2002 <http://www.dichtung-digital.de/2000/Simanowksi/24-Aug/> (id and password required).

----. (2001) "Fighting/Dancing Words: Jim Andrews¡¦ Kinetic, Concrete Audiovisual Poetry." Trans. Florian Cramer. dichtung-digital . 1 March 2002 <http://www.dichtung-digital.com/2001/12/10-Simanowski/cramer.htm> (id and password required).

Strehovec, Janez. (2000) "The Moving Word: Towards the Theory of Web Literary Objects." Cybertext Yearbook 2000 . Eds. Markku Eskelinen and Raine Koskimaa. Research Center for Contemporary Culture, University of Jyväskylä. 100-116.

Talin. (1998) "Real Interactivity in Interactive Entertainment." Digital Illusion: Entertaining the Future with High Technology . Ed. Clark Dodsworth Jr. New York: ACM Press.

§õ¶¶¿³¡C2000¡C¡q¶W¤å¥»¤å¾Ç§Î¦¡¬ü¾Çªì±´¡r¡C Intergrams . 2.1 (2000)¡C< http://benz.nchu.edu.tw/~intergrams/002/002-lee.htm >¡C

¢w¢w¡C2001¡C¡q¶W¤å¥»ªº»X¤Ó©_Ūªk»P¸ê®Æ®w§Î¦¡¡r¡C²Ä¤G©¡¡m¤å¤sµû½×¡n¾Ç³N¬ã°Q·|½×¤å¡C¬Fªv¤j¾Ç¡C2001.05.05¡C©Îºô¸ôª©¡G< http://benz.nchu.edu.tw/~sslee/papers/hyp-montage.htm >¡C

¢w¢w¡C2002¡C¡q¡uª±®a+¤Æ¨­¡vªº¨g·Q¦±¡G½×¹qª±ªº¨î°Ê¨¤¦â»PÀô¹Ò¡r¡C Intergrams 4.1 (2002)¡C¡@< http://benz.nchu.edu.tw/~intergrams/intergrams/041/041-lee.htm >¡C

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