¡@
¡@ |
¤å¾Ç¹CÀ¸¡G¦A²{»P¼ÒÀÀªº§Î¦¡¿Ä¦X
¡@
Intergrams
4.2-5.1(2003):
¡@ ºKn
¤@¯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®ÉݤΡu¶W¶V¥é¨v¼ÒÀÀ¡v¡]
beyond literal simulation
¡^ªº°Q½×¡A¸ÑªRÃÀ³N®a¦p¦ó´£ª@¼ÒÀÀ§Î¦¡ªºÃÀ³N¼h¦¸¡C
ÃöÁäµü¡G¤¶±¡A¶W¤å¥»¤å¾Ç¡A¨î°Ê¤å¥»¡A¹q¸£¹CÀ¸¡A¤å¾Ç¹CÀ¸¡A¦A²{¡A¼ÒÀÀ
|
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£¥ÍÅܲ¡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 ¡@ |
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§Ú̪º¬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
¡@ |
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
¡@ |
4 |
¬¥§J¤ñ¦p¦¹¸àÄÀ¤¶±ªºÁô§Î§@¥Î¡G¡u¤¶±³W½d§Ú̦p¦ó·P¨ü¤º®e¡A¨Ã¦p¦ó¦b§@«~¤¤²¾°Ê¡]
navigate
¡^¡A¦]¦Ó¤]§Î¶ì¤F§Ú̹鷺®eªº¸gÅç¡A¹Lµ{«D±`²Ó¿°¡A´X¥G¤£µÛ²ª¸ñ¡v¡]
1998: 27-8
¡^¡C³o¼ËªºÆ[¹î¡A¹ê¤wÂI¥X¤¶±¦b·N¸q¥Í²£¹Lµ{¤¤©Ò¦û¦³ªº¥D¾É¦ì¸m¡C¥L¥t´£¥X¡u¶W¶V¥é¨v¼ÒÀÀ¡v¡]
beyond literal simulation
¡^ªº«Øij¡A³oùتº¼ÒÀÀijÃD¤]§t¯Ç¤¶±³]p¡A¦]¬°«Ü¦h¤¶±³£¬O¦æ¬°ªº¼Ò¥é¡]
behavior modeling
¡^¡A¸¦æ¼ÒÀÀ¾¹ªº¾Þ§@¤¶±«K¬O«Ü¦nªº¨Ò¤l¡C¬¥§J¤ñªº»·¨£¤]¦P®Éªþij¤@Ó¥i¯à¡G¦b±j¤Æ¨î°Ê¤å¥»ªºÃÀ³N©Ê¤è±¡A¤¶±±N§êºt¼Ï¯Ã¨¤¦â¡]
1998: 36-7
¡^¡Cµy«á¡A¥»¤å±NÁ|¤@¨Ç¨q²§ªº¤¶±³]p¡A¯S§O¬O»P§t¦³¼^ª±¡BÄvª±µ¥¯A¤Î¼ÒÀÀ§Î¦¡ªº§@«~¡A¥Î¥HÅçÃÒ¬¥§J¤ñªº«e¤¬Ýªk¡C
¡@ |
5 |
¡mÁÀ¨¥¡nªº¶W³sµ²³]p¡A¦b¦´Áªº¯Â¤å¦r¶W¤å¥»§@«~·í¤¤¡AÄݯS¨Ò¡CµM¦Ó·í¶W´CÅé³Q¼sªxÀ³¥Î¤§«á¡A¦b§Ö³t¹q¸£©M®M¸Ë³nÅ骺»²§U¤§¤U¡A¾ãÓ¶W¤å¥»¤å¾Ç³Ð§@ªº¤º²[°_¤F«Ü¤jªºÅܤơC¯Â¤å¦r¶W¤å¥»ùزK¥[¶W´CÅ馨¤Àªº³Ð§@¤è¦¡¡A³vº¥¦¨¬°¥D¬y¡C³o¼ËªºÁͶաA¨Ã«D¤H¤H±µ¨ü¡C®w¦ò¡]
Robert Coover
¡^´N´¿¬°¤åªí¹F²§Ä³
{1}
¡Cȱoª`·Nªº¬O¡A¦b³oªÑ³Ð§@¼é¬y·í¤¤¡A§@«~ùتº¶W´CÅ餶±¡A¤£¦A¥u¬O¯Âºéªº¸ê°T¤Á´«¤u¨ã¡A¦Ó¬O»P¨ä¥¦§@«~¦¨¤À¤@¼Ë¡A§t¦³±j¯Pªº¤å¾Ç·N²[¡C
¡@ |
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¤×¨äʿब°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¥L̳B²zªº¶W¤å¥»¹ï¶H¶È©ó¯Â¤å¦r§@«~¡C
¡@ |
7 |
¤G¡B·Rª±ªº·Æ¹«
¶W¤å¥»¤å¾Çùؤ¬°Ê³]pªºÀ³¥Î±¡ªp»P¿n·¥µ{«×¡A¤ñ¤£¤W¹qª±¡CÁö¬O¦p¦¹¡A¶W¤å¥»¤å¾Çªº¤¬°Ê³]p¸g±`ɥμ^ª±»PÄvª±§Î¦¡¡A©Î¼Ò¥é¹qª±¤¤¦UºØ¬y¦æªº¦æ¬°½d¦¡¡C¼¯´µ¬¥©Y¡] Stuart Moulthrop ¡^´¿¹Á¸Õ±N¶W¤å¥»ªº¾\Ū¤èªk¡AÀ³¥Î©ó¹qª±¬ã¨s¡] 1999b; 2001 ¡^¡A¥i¬O¦b§Úªº»{ª¾½d³ò¤º¡A«o¤£´¿¬Ý¨ì¦³¤H±N¼Æ¦ì©Î¶Ç²Î®T¼Ö¤¤ªº¼^ª±»PÄvª±¦¨¤À±a¤J¶W¤å¥»ªº°Q½×¡C°ò©ó³o¼Ëªº½t¬G¡A§Ú»{¬°¦³¥²n±N¼^ª±»PÄvª±ªº©w¸q¾ã²z¤@¹M¡A´Á¦³§U©ó¼W¼s¾Ç¬É¹ï¶W¤å¥»¤å¾Ç©M¨ä¥¦¨î°Ê¤å¥»ªºÁA¸Ñ¡C ¡@ |
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
¡@ |
9 |
¤Wz¨âºØ¤ÀÃþªkYÀ³¥Î¨ì§t¦³¼^ª±©MÄvª±¦¨¤Àªº¶W¤å¥»¤å¾Ç§@«~¡A¤]¥i´¦¶}¤@¨Ç¥¼¸g¥R¤À±´´úªº§Î¦¡°gÃú¡C§@«~¤¤²K¤JÄvª±¦¨¤À¦p¤µ¤w«D·sÂA¨Æ¡A³oÁͶիܩúÅã¬O¨ü¨ì¹qª±ªº¼vÅT¡A¯S§O¬O¨ä¤¤ªº¿éŤG¤¸¹ï¥ßì«h¡C³o¼Ëªº¿Ä¦X¡A³Ð³y¤F¡u¤å¾Ç¹qª±¡v¡]
literary computer games
¡^
{3}
¡C¶°Åé³Ð§@ªº¡m¦è¥_©¤ªºª©µe®a¡n¡]
North West Coast Printmakers
¡^¬OӨ嫬ªº¨Ò¤l¡A¥¦ªºÄvª±¥Ø¼Ð¬O¦b³Ìµuªº¤Ñ¼Æ¤º§¹¡]ª±¡^¦¨¤@½ëì¦í¥Á¤å¤Æ¤§®È¡C¥t¥~¹³ªL¡]
Vicki Lynn
¡^ªº¡m¤dÁH¤Ñ¨Ï¡n¡]
The Guardians of the
Millennium
, 1999
¡^¡A¨äÄvª±¥Ø¼Ð«h¬O¸Ñ±Ï¨ü§xªº¤dÁH¨ÏªÌ©M¤@¦ìÀô«O¤H¤h¡C¤Wz¤G¨Ò³£¦b±Ô¨ÆùØ´O¤J¿éŤG¤¸¹ï¥ßªºÄvª±µ²ºc¡C
¡@ |
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»Pȱo»{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
¡@ |
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
¡@ |
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¦¡¤§¤@¬OɧU¶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
¡@ |
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
¡@ |
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¥H³oӤ奻ªº±±¨î¤u¨ã·í§@¥DnÃD§÷¡v¡]
2002: 121-2
¡^¡C
¡@ |
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¤@´T쥻¼Ò½k¤£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¤@ӷƹ«¸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
¡@ |
16 |
¥tȱoª`·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
¡@ |
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¤@ӱԨƪº¼ÒÀÀÀô¹Ò¡]
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
¡@ |
18 |
§â¦¸§Ç¶}©ñ«¬©M©T©w«¬¨âºØ³]p²V¦X°_¨Ó¡A¤]¬O±`¨£ªºÁ|°Ê¡C¡q·Æ¹«¨Æ¥ó¡r¤¤ªº¨C¤@¸`¡AŪªÌªº²¾°Ê¥²¶·¨Ì´`·Æ¹«¨Æ¥ó©Ò¹w©wªº¸ô½u¡C¥i¬O±q¥t¤@¤è±¨Ó¬Ý¡A¾ã³¡§@«~¹ªÀyŪªÌ¥HÀH¿³ªº¤è¦¡¦b¸`»P¸`¤§¶¡¶i¦æ¤¬°Ê¾\Ū¡A¦]¬°¡u³o¬O¤@³¡»Ý¨D¥[¤J¹êÅé°Ê§@ªº§@«~¡A¹êÅ骺¤¬°Ê¨M©w¤F§@«~ªº¤º®e¡v¡]
2002: 125
¡^¡C¤£½×¬O¶}©ñ©Î©T©wªº¸ê°T¤Á´«³]p¡A³£¬O¥Hµ²¦X¤º®e¬°¼Ðªº¡A¤£¼vÅT¨ä¼^ª±§Î¦¡©Ò¥ø¨Dªºª±¯Á©Ê½è¡C
¡@ |
19 |
¤T¡B¦A²{
vs.
¼ÒÀÀ
¤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} ¡C³oӧΦ¡¦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¡Aȱo±´°Q¤@¤U¡C¥H¤U¦UÁ|¼^ª±«¬©MÄvª±«¬¨Ò¤l¨Ó»¡©ú³oºØ²§ÃþÁp«Ãªº§Î¦¡¡C ¡@ |
20 |
¡mµL¤H¦b¦¹¡n¡]
Nobody Here
¡AµL¦W¤ó¡^¤¤ªº¡qºµ¡r¡]
"Bear"
¡^¤@¶¤¤¡A¤å¦r¶È¤@¥y¡G¡u®õ}·|¦w¼¢§Ú¡v¡A¨ä¤W°ÊºA¹Ï®×¬°¤@¼^ª±Àô¹Ò¡A¤¹³\ŪªÌ®³¦UºØ¤p¹D¨ã§é¿i¨ä¤¤ªº¤pºµ¡C¥H§é¿i¤pºµÀò±o¤ß±¡¤Wªº¦w¼¢¡A¿Ø¨ë¡]
irony
¡^ºÉ¦b¡u¤£¨¥¡v¤¤¡A¦ý¥²¶·¥Ñª±®a¦b¼ÒÀÀÀô¹Ò¤¤¿Ë¦Û¾Þ¡u¤M¡v¡A¤è±oÅéÅ秮·N¡C¥ç§Yª±®a¥²¶·¦³¹êÅ骺¿é¤J¡]
physical input
¡^¡A¤~¯à±N¼^ª±±¡¹ÒÂà¤Æ¬°¯à¥Í²£·N¸qªº¨t²Î¡A¨Ã¥i»P¤å¦r³¡¤À¶i¦æ¹ï·Ó¡C¨âªÌ¥æ¤¬§@¥Îªºµ²ªG¡A°n¥X¤F²Ä¤T¼h·N²[¡G¿Ø¨ë¡C
¡@ |
21 |
¦w·¡´µ¡]
Jim Andrews
¡^¡qºôÃÀ¤§¬P¡r¡]
"Webarteroids"
¡^§ï½s¦Û¦´Á¹qª±¡q¥~¦æ¬P¡r¡]
"Asteroids"
¡^ªº®gÀ»¹CÀ¸¼Ò¦¡
{7}
¡A¥Dn®t§O¦b©ó¡A¡qºôÃÀ¤§¬P¡r¥þ¥Ñ¤å¦r¾á¥ôºt¥X¨¤¦â¡C¦b¡q¥~¦æ¬P¡rùØÀY¡Aª±®aªº¥Dn¥ô°È¬O§â¨Óŧªº¥~¬P¸¦æª«À»¼ì¡A¦b¡qºôÃÀ¤§¬P¡r¤¤¡Aª±®aªº¥ô°È«h¬O§â¨Ó¦Û¥|±¤K¤èªº¤å¦r©Î¤å¥yÅF¸H¡C¡qºôÃÀ¤§¬P¡rªº¹CÀ¸¤À¦¨¨â´Ú¡C²Ä¤@´Úªº¤º®e¬O©T©wªº¡A®gÀ»¥x¥Ñ¡u¸Ö¡v¡]
poetry
¡^¤@¦r¾áºõ¡C²Ä¤G´Úªº¡u¤å¦r§ðÀ»¡v¤º®e¥H¤Î®gÀ»¥xªº¤å¦r¡A¥i¥Ñª±®a¦Û¦æ³]©w¨Ã¿é¤J¡C
¡@ |
22 |
§â³o³¡§@«~µø¬°¹qª±¡A¤Ï¹ï·N¨£À³¸Ó¤£¦h¡C¥i¬O§@ªÌ¦ÛºÙ³o³¡§@¬O¡u¤å¾Ç¹qª±¡v¡Aª±®a¥i¯à·|½è°Ý¡G¥¦ªº¤å¾Ç©Ê¡]
literariness
¡^¦bþùØ¡H
¡@ |
23 |
¥H¡u¸Ö¡v·í®gÀ»¥x¡Aªï¾Ô¤å¦r¤J«I¡A¨ä¤¤¤å¦r¥]¬A¡G¦º¤`¡B®£Äß¡B¤£¦w¡BªÅµL¡BµÛ§@¼f¬d¡B¿WÂ_¥D¸q¡B¶Ç²Î¡B²¨Â÷µ¥µ¥¡A¬Æ¦Ü¸Ö¤@¦r¥»¨¡A±qÄ´³ë¨¤«×¨Ó¬Ý¡A³o¬Û·í©ó¬O«ü¥H¸Ö§Ü©Út±¨Æª«ªºµo¥Í©Î¦s¦b¡A©Î¸g¥Ñ¦Û§Ú·´·ÀÀò±o¦A¥Í¡C
¡@ |
24 |
¦èªù¿Õ´µ°ò¡]
Roberto Simanowski
¡^´£¿ô§ÚÌ¡G¡u·í§Aªº®gÀ»§Þ³N·U¦n¡A§A·|ÁA¸Ñ¨ÃŪ¨ì§ó¦hªº¦r¥y¡A³Ì«á§A¬Æ¦Ü¥i«÷¥X³o¼Ëªº¥y¤l¡G¡y¸Ö§Ü©Ú¦Û§Ú¡A¤]§Ü©Ú¨I´e¡z¡B¡y¥ô¦ó¨Æª«³£¬O¸Ö¡A¥ý¯}Ãa¦A³Ð³y¥X¨Ó¡z¡v
{8}
¡C¹ï©ó¹CÀ¸¤¤¡u¾\Ū¡v»P¡u¾Ô°«¡v¨âªÌ¶¡ªºÃö«Y¡A¦èªù¿Õ´µ°ò¤]´£¥X¤@¬qºëÅPªº¸àÄÀ¡G¡u¸Ñ¶}¤å¦r¤§Á¼ªº¥ø¹Ï
¡K¡K
Âಾ¤F¥´À»¤J«IªÌªºª`·N¤O¡G¾\Ū¥¿¦b«Â¯Ù§Aªº¥Í©R¡A¤@¦p¦b¾Ô³õ¤W¡v¡]
2001: section 2
¡^¡C
¡@ |
25 |
¥H¡u¸Ö¡v§Ü©Út±¤H¨Æª«ªºÃD§÷¡A¥±¤å¾Ç¥v¹ð¨£¤£ÂA¡A§ï¥H¤¬°Ê¹CÀ¸§Î¦¡§e²{¡A±N³Ótµ²ªG¥æ¥I¸Ö¤H¡þª±®a¤â¤¤¡A¥Ñ¥±¦A²{«¬¡]
representation
¡^ªº§Ü©Ú¡AÂà¤Æ¬°¼ÒÀÀ«¬¡]
simulation
¡^ªº¤ÏÀ»¡A¦b¤¹³\¤¬°Êªº¦æ¬°µêÀÀ¼Ò¦¡ùØ¡A¤£Â_¾Þºt¸Öªº¯}Ãa¤O»P¦A¥Í¤O¡A³oµf¼ÒÀÀÅéÅç¡A¹ê¤£¦P©ó¥±ªºÅé·|¡C¼ÒÀÀÅéÅç°£¤F¤@¯ëªº·Q¹³°Ê§@¡]
imagining
¡^¤§¥~¡A¥t¥]¬A¿ù»~»P¾Ç²ß¡]
error and trial
¡^ªº¾Þºt¹Lµ{¡A¦¹¤@¹Lµ{¥i³v¨B´£ª@°Ñ»PªÌªº¾Þ§@¯à¤O¡A´Â¦V¹êÅé«Øºc¡]
physical construction
¡^ªº§¹¦¨¡Cȱoª`·N¬O¡A°Ñ»PªÌªº¹êÅé¿é¤J¯à¤O¡A¨M©w¤F¤å¥»·N¸q´¦ÅSªº¼h¦¸¡A¶¡¦Ó¤]¼vÅT¨ìÅéÅ窺¼h¦¸¡C
¡@ |
26 |
²Ä¤G´Úªº¤¬°Ê®Ñ¼g¥\¯à¡A¶}©ñµ¹ª±®a¿é¤J¤å¦r¡AÂǥѬۦP®gÀ»¼Ò¦¡¡AÅýª±®a½s´¦Û¤v·QnÀ»±Ñªº¹ï¶H¡C¦¹¤@³]p¡A±N«ezªº¦æ¬°µêÀÀ¾÷¾¹ªº¹w³]¤º®e©âÂ÷¡A¥u³ÑªÅ¥Õ¼Ò¦¡¡A±N¨ä¤¤ªº±¡¹Ò§Î¦¨Âà¥æª±®a±±¨î¡A¨Ã¶i¦ÓÅýª±®aº¡¨¬¨ä¿W¯Sªº·Q¹³ªÅ¶¡¡A¥i¿×¤¬°Ê§Þ³N¼ç¤Oªº¹üÅã»P¥Ü½d¡A¤]¬O³o³¡¹qª±ªº¥t¤@ªþ¥[ÃÀ³N»ùÈ¡C¾ãÅé¦Ó¨¥¡A¡qºôÃÀ¤§¬P¡rªº¡uª½±µ¤ÏÀ»¡v§Î¦¡¡Aµy¶û²L¥Õ¡A¦ý´N¨ä¥H¤¬°Ê³]pªí¹F¶Ç²Î¥ÀÃD©Ò¿²¦Üªº¬ü¾Ç¼h¦¸¦Ó¨¥¡A¨¬¥H¬°¦¹¤@·s¿³¤å¾Çªí²{¤è¦¡¥ß¤U¶}³Ð©Êªº½d¨Ò¡C
¡@ |
27 |
¹CÀ¸±a¦³¿éŤG¤¸¤ÆÅÞ¿è³]p¡A³o¼Ëªº¥Ø¼Ð¨ú¦V«Ü®e©ö§é¶Ë¤å¥»¤º®eªºÄYµÂ©Ê¡A¦]¬°¬°¤F¹F¦¨Ä¹ªº¥Ø¼Ð¡AŪªÌ·|¤£¾Ü¤â¬q¡A±q¦ÓÅý¤º®eªº¾\Ū»PªY½à²_¬°¹F¦¨¥Ø¼ÐªºªþÄݰʧ@¡A¦³®É¬Æ¦Ü³s¾\Ū°Ê§@³£¬Ù²¤¤F¡CªÖĶ¡]
Robert Kendall
¡^¡q½u¯Á¡r¡]
"Clues"
¡^¬O¤@³¡¤¬°Ê«¬ªº°»±´¬G¨Æ¡A«o¯à¥©§®¦aÁ׶}¤Wz¥Ø¼Ð¨ú¦Vªº¾\Ū³´¨À¡AÅýÄYµÂ©Ê¦b¨ä¤¤«ùÄò¤£¼Y¡C³o¤@¤Á³£±o±q¡q½u¯Á¡rªº§Î¦¡³]p½Í°_¡C
¡@ |
28 |
«Ê±¬O¤@´T°»±´¹Ï¹³¡Aª¬¦ü¨f§J
․
±Z¦è¡]
Dick Tracy
¡^©ÎµØÛ
․
¤ñ³ö¡]
Warren Beatty
¡^¡A®ðª^§ë®g¥X¿@¯Pªº°»±´¬G¨Æ¶Ç²Î¡C°»±´¦ü¥G§@¶ÕÁܽÐŪªÌ¡u«ä¦Ò¤å¦r¡B¥´¶}¤å¥»¤¤ªºÁ¼¡Bűo¹CÀ¸¡v¡C¬G¨Æ¤J¤f³Bùئ³¤TÓªùªº¹Ï§Î¿ï¾Ü¡A°t¸m¨ä¶¡ªº¤å¦r»¡©ú¡A¤£Â_¼º¼·ÅªªÌªº¦n©_¤ß¡Cì¥ýªºÁܽЦb¦¹³vº¥Âà¤Æ¬°¾\Ū»¤´b¡]
seduction
¡^¡C±Ô¨ÆªÌ¤@¶}³õ«Kªí©ú¦Û¤v¬O¡u³Ì¨ãÅ骺ÃÒª«¡v¡A«o¤Sª½·oŪªÌÅDÅD±ý¸Õªº±¡ºü¡A²@¤£Áô±â¦a»¡¡G¡u¥i¬O§A·Qª¾¹D§ó¦h¡C§A·QIJºN¨º¹D¥s°µ¡y¬°¤°»ò¡zªºÀð¡A¥¦¹j¶}¤F¥¼¸g³B²zªº¥ú½u¡A¥H¤ÎµLªk§PŪªºªÅ®ð
¡K¡K
¡C¡vµM¦ÓÃhµÛ³oµ¥¾\Ū¤ß±¡ªºÅªªÌ±N¤j¥¢©Ò±æ¡A¦]¬°±µÄò¤U¨Ó¡A¶¤ù»P¶¤ù¤§¶¡ªº¤å¦r¤º®e¨ÃµLºò±KªºÃöÁp¡A¹Ï®×¤W©Ò´£¨Ñªº¦UºØ½u¯Á¡A¥¿½T»P§_¡A¤]µL±q§PÂ_¡AŪªÌ¥u¯à¥HJ¶ÃÂI¿ïªº¤è¦¡¦V«e±À¶i¡C
¡@ |
29 |
¡q½u¯Á¡rªº¶¤ù¤jP¥i¤À¦¨¨âºØ¥DnÃþ«¬¡C²Ä¤@ºØ¬O¹Ï®×·f°t¤å¦r¡A¤å¦r²[·N³£«D±`©â¶H¡A«ü¯A¼Ò½k¡A¦ý¤jÅé¤W¸ò¹Ï¤ù¤º®eÁô¬ù¦³¬YºØµ{«×¤Wªº©IÀ³¡CÄ´¦p»¡¡A¦b¡u
rm-woman.htm
¡v³oÓ¶¤ùùØ¡A¹Ï®×¤W¡A©Ð¤º¦³¤@¦ì¬ü¤k¡B¤@¨ã¨k©Ê«ÍÅé¡C¹Ï®×¤U±ªº¤å¦r¡A¶}ÀY¤@¬q½×z¦p¤U¡G¡u¨Åé¬OӷƷȪº®ø¶OªÌ¡þ¦b¤ß«ä»P¥~¦b¥@¬É¤§¶¡ªº¬YÓ¦a¤è¹BÂàµÛ¡þ¤¶©ó¦Û¤v»P¥LªÌªº¤¤¶¡¤H¡v¡C¾ã½g¡u¨Åé½×z¡v¸ò¯}®×½u¯Á¹ê¦b§è¤£¤WÃä¡C
¡@ |
30 |
¹Ï®×¤W¸ûÅã²´ªºª«¥ó©Î¨¤¦â³q±`¬O¡u½u¯Á¡v¡A¥ç¬O¶W³sµ²¡A¡u
rm-woman.htm
¡vùتº¬ü¤k§Y¬O¤@¨Ò¡C¦pªG¿ï¨ì¥¿½Tªºª«¥ó¡A¤U¤@¶·|¥X²{¤@½g¤å¦r½×z¡A¥iÂkÃþ¬°²Ä¤G´Ú¶¤ù¡C³o´Ú¶¤ù¦b¸ÑÁ¼¹Lµ{¤¤¡A·|¦Û°Ê¨Ì§Ç½s¸¹¡AY¯à´ê¨¬¤EºØ¥¿½Tªºª«¥ó¡A«K¥i¶i¤J½s¸¹²Ä¤Qªº¶¤ù¡A¦¹®É¤å¥»·|«ÅºÙŪªÌªº±´¯Á¤wµ²§ô¡CYµLªk§ä»ô¹w³]ªº¤EºØª«¥ó¡A¦b¦h¦¸»~¸Õ¤§«á¡A¤å¥»·|«Å§i§A¿é¤F¡A¨Ã¹ªÀy§A¦A¹Á¸Õ¬Ý¬Ý¡C
¡@ |
31 |
¥t¤@ÂIȱoª`·Nªº²{¶H¬O¡A³z¹Lµ{¦¡ªº±±¨î¡A³æ¤@¶¤ùùتº¹Ï®×¡B¤å¦r¡A¥H¹Ï®×ùتº¨¤¦â¡Bª«¥óµ¥¡A©¼¦¹Ãö«Y¨Ã¤£©T©w¡A¦b¤£¦Pªº¸ô®|¤W¡A¥i¯à¦³¤£¦Pªº·f°t¡C³o¼Ëªº³]p¡A±N¦³ªº§÷®Æ¡A¶i¤@¨B¥æ¿ù¦w±Æ¡AÅý¾ãÅ餺®eÅܱo§ó¦h¼Ë»P½ÆÂø¡C¤£¹L§óȱoÃö¤Áªº¬O¡A¦bÃÀ³N»ùȤW¡A³q¹L¶W¤å¥»¤å¾Ç¯S¦³ªº¡u«Åª¡v¨BÆJ¡A¨C¤@¶¤ù¤º®eªº·N¸q±¦VÅܱo¤£©T©w¡AÀHµÛ·sªº¤W¤U¤å¦Ó²£¥Í·sªº·N¸q¡C¦p«e©Ò¨¥¡A¡u¯u¥¿ªº¶W¤å¥»¾\Ū§Y«Åª¡v¡A¦b³o¼Ëªº¾\Ū±¡ªp¤U¡A¶W¤å¥»ªº¾ãÅé·N¸q»P§Î¦¡¤~¯à¹üÅã¥X¨Ó¡C¡q½u¯Á¡r¤]¥²¶·¸g¹L¡u«Åª¡v¡A¤è¯à»â²¤§@ªÌªº³]p¥Î¤ß¡C¤£¤Ó¥i¯à¦³ÅªªÌ¦b²Ä¤@¦¸¾\Ū¡A«K¯à©¯¹B¦a§ä»ô¹w³]ªº¤EºØ¥¿½Tª«¥ó¡A¦]¬°³o¤EºØª«¥ó¤§¶¡¨ÃµL¥²nªºÃöÁp¥i¨Ñ±ÀºV¡A¯à°÷²q¤¤¡A¯Âºé¬O¥©¦X¡A©Î¦h¦¸´ú¸Õªºµ²ªG¡C¥Ñ¦¹¥iª¾¡A§@ªÌªºì©l³]p¥Øªº¨ÃµL·N¹ÏÅýŪªÌ¤@¸Õ¤¤ªº¡C
¡@ |
32 |
¡q½u¯Á¡rªºÅªªÌÄ@·N¤£Â_´ú¸Õ¡AÅãµM¦³µÛ¤@ªÑ¥Ø¼ÐÅX¤O§@¯©¡C¥i¬OY¹L«×ª`«¥Ø¼Ðªº¹F¦¨¡A¥¦ªº¤å¥»¾\Ū±N¥¢¥h·N¸q¡C¥Ø¼Ð¨ú¦VªºÅªªÌ¥i¯à¥uÂI¿ï³sµ²«o¤£°µ¾\Ū¡A¦]¬°´X¦¸´ú¸Õ¤§«á¡A¥L·|ÁA¸Ñ¤å¥»ªº¾\Ū¨Ã¤£¯à´£¨Ñ¦h¤Ö¦³¥Îªº¸ÑÁ¼½u¯Á¡C¥Ø¼Ð¨ú¦VªºÅªªÌ¤]±Nµo²{¡A³o¼Ëªº¹CÀ¸¨SÔ£½ì¨ý¥i¨¥¡A¦]¬°ª¬¦ü¥û±þ®×ªº½r¥û¹Lµ{¤¤¡A½u¯Á¼Ò½k¤£²M¡A¦Óª¬¦üÁ¼©³´¦¾åªºµ²§½¶¤ùùؤ]¤£´£¨Ñ¥ô¦óµª®×¡A¤´¬O¤@®M©â¶H»¡µü¡C¨ä¹ê¡A±Ô¨ÆªÌ¦b¶}³õ¥Õ§Ï©»´N·t¥Ü¡G³o¤@¤Á³£¬O§Ú½sªº¡A§Ú´N¬Oµª®×¡AµL¶·°l´M¡C
¡@ |
33 |
¡q½u¯Á¡r¤£ª`«¿éĹªºµ²§½³]p¡A±N¥Ø¼Ð¹F¦¨ªº·N¸qµ¹²H¤Æ¤F¡A¦P®É´î¤Ö¥Ø¼Ð¨ú¦V¹ï¤å¥»¤º®eÄYµÂ©Êªº½ÄÀ»¡C¿éĹ¥Ø¼Ðªº¦s¦b¥uÅܦ¨¤@ªÑY¦³YµLªº¤Þ¤O©Î®Ø¬[¡A³»¦hÅýŪªÌ²£¥Í¦b¤@©T©w½d³ò¤º¦V«e±À¶iªº¤Ûı¡C¡q½u¯Á¡rªº±Ô¨Æ§Î¦¡¡A¦P¤j³¡¤À¶W¤å¥»±Ô¨Æ¤@¼Ë¡A¤]¬Oºóµ²¦¡ªº¡]
episodic
¡^¡Cºóµ²¦¡®Ñ¼gªº³s³e®Ö¤ß¨Ã«D±¡¸`¡A¥¦ªº®É¶¡¤Æ²Î¤@·P«D±`Á¡®z¡AµM¦Ó³o¨Ã¤£ªí¥Ü¥¦µLªk§e²{²Î¤@·P¡C¥¦¥i±Ä¥ÎªÅ¶¡¤Æµ¦²¤¡A¦p³Ç¤º¡]
Gérard Genette
¡^«ü¥Xªº°ï¸m¤âªk¡]
syllepsis
¡^
{9}
¡A©Î¹B¥Î²{¥N¥D¸qªº²`¼h·N¸q¤¤¤ß·§©À¡C³o¼Ëªº¶W¤å¥»¾\Ū¡AªY½à¼Ö½ì³Ì«á¸¨¦b³æ¤@¶¤ù¡B¶¤ù¶¡ªºÁ_»Ø¡A¥H¤Î¦UºØ¶¤ù¦ê³s°_¨Óªº¸ô®|¡A¦Ü©ó¸ÑÁ¼¦¨¥\©Î¥¢±Ñ¡A¤w¬OµLÃöºònªº¨Æ¤F¡C
¡@ |
34 |
¨Ì°»±´¬G¨Æ¶Ç²Î¨Ó¬Ý¡A¡m½u¯Á¡nªº¤å¦r±Ôz¤j¦³°ÝÃD¡]
problematic
¡^¡CµM¦Ó¥Ñ¤å¾Ç¹CÀ¸ªº¨¤«×¨ÓÀ˵ø¡m½u¯Á¡n¡A¥iµo²{¥¦¨ä¹ê¬O¤@Ó°»±´¾\Ūªº¼ÒÀÀ¡A¥u¬O¨ä¤¤ªº§Î¦¡»P¤º®e³£¤w¨è·N§á¦±¡C¦b¦A²{¤è±¡A¥¦§â¤@«h«D¬G¨Æªº±Ôz¡]
non-storytelling narration
¡^¥]»q¦b°»±´±Ô¨Æªº¬[ºcùØ¡C¦b¼ÒÀÀ¤è±¡A¥¦³]p¤F¤@¯ëÄvª±«¬¹CÀ¸¸Ó¦³ªº¿éŵ²§½¡A¥u¤£¹L³o¨Çµ²§½ªº¼Ò½k©Ê¡A»P³e¬ï¥þ¤å±Ôzªº©â¶Hµ{«×¡A¤@¼Ë¶O¸Ñ¡C¦³¦WµL¹êªº°»±´±Ô¨Æ¡B¼Ò½kªº¹CÀ¸µ²§½¡A³o¨âºØ³]p¦ü¥G¦b¹ï¨ä©ÒÄݪº¶Ç²Î¶i¦æ¬D¾Ô¡Aªí±¤Wª¬¦üµLªk²£¥Í¥ô¦ó½ÄÀ»¡C¨Æ¹ê«o¤£ºÉµM¦p¦¹¡C³o¨â´Ú¬DÆ]¶Ç²Îªº³]p¡A¦X¦Ó¬°¤@¤§«á¡A²£¥Í¤F¤@´Ú·s¨î°Ê¤å¥»¡C¡u¿Ä¤J¡v¨ä¤¤ªº¹Lµ{¡Aµy¤£¦P©ó¬y¦æ²£«~¤¤ºD¦³ªº¤è¦¡¡A¦b¦¹¤£§«ºÙ¤§¬°¡uÀq«ä«¬¿Ä¤J¡v¡]
meditative immersion
¡^¡C¡m½u¯Á¡n·¥Â×õ«äªº¤º®e¡A³B²zŪªÌ¾\Ū°»±´¬G¨Æªº¦n©_¤ß¡A¦P®É¦©ºò¨Ã¾r»é³o¥÷¦n©_¤ß¡A©Ê½è²¤±µªñ©ó«á³]«¬ªº»y¨¥¡A±N³o¨Ç©â¶H±Ôz©ñ¦b¹CÀ¸µ²ºcùØ¡A°t¦X¨ä¥¦µøıª«¥ó©Ò§eµø¥X¨Óªº±´¯Áª^³ò¡AŪªÌ¡þª±®a¦³¥i¯à¤£¦Ûı¦a¦b«ä¯Á¤¤¿Ä¤J±´¯Áªº±¡¹Ò¡C
¡@ |
35 |
¥|¡B¡u¶W¶V¥é¨v¼ÒÀÀ¡v
¡q¥i¯à©ÊªºÆw¨è¡r°£¥~¡A¤Wz´X´Ú§@«~ªº¼ÒÀÀ§Î¦¡¡A©Î¤§¤¤ªº¦æ¬°¼Ò¥é³¡¤À¡A¨Ò¦p¡qºµ¡rªº¡u§é¿i±¡¹Ò¡v¡A¡qºôÃÀ¤§¬P¡rªº®gÀ»³]p¡B¡q½u¯Á¡rªº½u¯Á°l´Mµ¥¡A³£ª½±µ°Ñ·Ó¯u¹ê¬¡°Ê¡A¦ý¦b¤å¥»·N¸q¥Í²£¹Lµ{¤¤¸g¹LÂà¤Æ¡A¦Ó¦¨¬°¨ã¦³Ä´³ë§@¥Îªº¦¨¤À¡A¨ä¦®Âk¡] tenor ¡^©M¦®¦V¡] vehicle ¡^¤§¶¡ªºÃö«Y«Ü©ú½T {10} ¡C¦A¬Ý¡q¥i¯à©ÊªºÆw¨è¡rªº¼ÒÀÀ·Q¹³¡A«hª½±µ¸ó¥X¥é¨v½dÃ¥¡AÁöµM¨ä¤¤ªº¼²À»µ®Ä¥O¤HÁp·Q¨ìÆw¥ÛªºÁnÅT¡A¦ý¦P¨ä¤j½Ã¼v¹³ªº´¦Åã¹Lµ{¤@¼Ë¡A§Þ¥©¨ã¶H¼x©Ê¡AP¨Ï¨ä«ü¯A¦³ÂI¼Ò½k¡A³s±a¦a¤]¤Þ»â¨ä¼ÒÀÀ§Î¦¡¨«¦V¸ûÃø¸ÑªºÁô³ë¡C ¡@ |
36 |
·Q¹³¤W¡A¥¼¨Óªº¤å¾Ç¹CÀ¸¨Ï¥ÎÄ´³ë©Ê§ó±j¡B§óÃø²z¸Ñªº¼ÒÀÀ§Î¦¡¡A«D±`¥i¯à¡C¶W¤å¥»¤å¾Ç¤¤ªº¶W³sµ²¡A¥\¯à¥i¥H¥u§t³sµ²ªºÂ²³æ§@¥Î¡A¤]¥i¥H²K¤J§ó¦h·Q¹³¡A¨Ï¨ä¨ã¦³Ä´³ë§@¥Î¡A¼W±j¤å¥»ªºÃÀ³N©Ê¡C¦P²z¡A¼ÒÀÀ¤]¥i¶i¤@¨B±q«ü¥Ü©Êªº§@¥Î¡A¤É¯Å¬°ÃöÁp«¬¡C¬¥§J¤ñ§åµû·í¥N
VR
³]pªÌ¡u¦b¼ÒÀÀ¯u¹êªº®ÉÔ¡A¤Ó¹L©ó±Mª`¡y¥é¨v¡z¡Aµ²ªG§â·s´CÅ骺½Ñ¦h¼ç¤O³£µ¹§ã±þ±¼¤F¡v¡C¥LÁ|¥Ë§Q©_¡]
Tamas Waliczky
¡^·í¨Ò¤l¡A»¡©ú¼ÒÀÀÃÀ³N¥i³Ð³y¥X·sªº¬ü¾Ç±¦V¡C¥Ë§Q©_¹ï³zµø¡]
perspective
¡^ªºÃD§÷·P¿³½ì¡A¼g¤FÓµ{¦¡¡A§â¶Ç²Îªº³zµø·§©Àµ¹ÄAÂФF¡C¦bµ{¦¡°õ¦æªºÀô¹ÒùØ¡A¡uÂ÷§A·U»·ªºªF¦è¡AÅé¿n·U¤j¡A¤Ï¤§¡AÂ÷§A·UªñªºªF¦è¡AÅé¿n·U¤p¡v¡]
Rokeby 1998: 37
¡^¡C
¡@ |
37 |
Ãþ¦üªº¬ð¯}©Î¶i®i¡A¤]¥i¦b¦´Áªº¼Æ¦ìÃÀ³N¤¤§ä¨ì§ó¦h½d¨Ò¡Cµû½×®a±`´£¨ì¿½¡]
Jeffrey Shaw
¡^ªº¡q¤å¦r«°¥«¡r¡]
"Legible City"
¡^¡C®Ú¾Úªù¿Õ·L«´¡]
Lev Manovich
¡^ªº´yz¡A³o³¡§@«~ªº¾Þ§@¤¶±¬O¤@³¡³æ¨®¡A¾Þ§@ªÌ¥²¶·±¹ï¤@¤ù¿Ã¹õ¡C¹õ¤¤¬O¤@®y¥Ñ
3D
¦r¥Àºc¦¨ªº«°¥«¡A¾Þ§@ªÌ²´«eªº´ºÆ[ÅܤơA§¹¥þ¥Ñ³æ¨®ªº¤è¦V»P¨¤«×©Ò¾Þ±±¡C¡q¤å¦r«°¥«¡rªº´X¦¸®i¥X¤¤¡A¤À§O¼ÒÀÀ¤F¤TÓ¯u¹ê«°¥«¡Cµe±¤Wªº¨CÓ
3D
¦r¥À³£¬O«°¥«¡]¦pªü©i´µ¯S¤¦¡^ùؤ@´É¹ê»Ú«Øª«ªº¼ÒÀÀ´À¥N¡C¦r¥À¥i³s¦¨³æ¦r¡A³æ¦r¥i¦ê¦¨¥y¡A¾ãÅéÆ[¤§¡A¾ã®y¤å¦r«°¥«Åܦ¨¤@Ӥ奻¡C¾Þ§@ªÌ¥i¤@Ãä¡u³}µó¡v¡A¤@Ãä¾\Ū¡A¤å¥»¤º®e«h¥H¸Ó®y«°¥«ªº¾ú¥v±Ôz¬°½d³ò¡]
2001: 260
¡^¡C
¡@ |
38 |
©M¡qºôÃÀ¤§¬P¡r°µÓ¤ñ¸û¡A¨âªÌªº¨î°Ê·Q¹³¡A³º¦³¯«¦ü¤§³B¡C¡q¤å¦r«°¥«¡r±N¹ê»Ú«°¥«§ï½s¦¨¤å¦r¼Ò«¬¡A¨ä¤¤¤å¦r¥i²Õ¦¨¤@½g¨ã¾ú¥v±Ôz¥\¯àªº¤å¥»¡A¡qºôÃÀ¤§¬P¡r«h¬O¥H¤å¦r´À´«¥~¬P¸¦æª«¡A¨ä¤¤¤å¦r¥i²Õ¦¨¤@¨ã¦³·N¸qªº¸Ö½g¡C¡q¤å¦r«°¥«¡rªº§Î¦¡¤w¸ó¹L¥é¨v¤âªk¡AÁöµM¥¦ªº¥Ø¼Ð¬O¦bµêÀÀ¤@®y¯u¹êªº«°¥«¡A¦ý¦pªù¿Õ·L«´«ü¥Xªº¡A¥¦¨Ã«Dn¹F¨ì¤@¯ëµêÀÀ¹ê¹Òªº¹G¯u¤Ûı¡C¦¹§@§ï±Ä¶H¼x§Î¦¡¡A¥H¦r¥À´À¥N¯u¹ê«Øª«¡A±µ³s¤U¨Ó¡A³z¹L¡u¤å¦r«Ø¿v¡v±Ôz«°¥«ªº¾ú¥v¡A©Òn§e²{ªº¬O«°¥«ªº²`¼h°O¾Ð¡A¦Ó«Dªí¼hµ²ºc¡]
Manovich 2001: 260-1
¡^¡C
¡@ |
39 |
¢¯¤G¦~Ĭ«X´CÅéÃÀ³N¸`¡]
"read_me Festival 1.2"
¡^ªº¥D¿ì³æ¦ì¹ï°Ó·~³nÅé´£¥X´XÂI±Òµo©Êªº½èºÃ¡A·í§@¬O°ÑÁɪ̪º³Ð§@¨Ì¾Ú¡C¨ä¤@¬O¡A°Ó·~³nÅéùتº¯S©w¾Þ§@¤è¦¡¡A¥i¯à·|Åý¨Ï¥ÎªÌµL§Î¤¤«ª©ó³æ¤@ºØ«ä¦Ò¡C¥§²ö¥ì¡]
Joshua Nimoy
¡^¡q¤å¥»©µ¦ù¡r¡]
"Textension"
¡^¬°¤J³ò§@«~¤§¤@¡A¥iµø¬°³oÓ½èºÃªº¨å«¬¹ê½î¡C¥¦©Ò¼ÒÀÀªº¹ï¶H¬O¤@¯ë¹q¸£¥´¦r¡C³q±`¦b·L³n
WORD
Àô¹Òùضi¦æ¤å®Ñ³B²z¡A¤£¬Oª½®Ñ´N¬O¾î¼g¡A¡q¤å¥»©µ¦ù¡r¬G·NÁ׶}³o¨Ç«U¦¨³W©w¡A¦Ó§ï¥H¨ä¥¦¥i¯àªº±Æª©¤è¦¡¨Óªí²{¥´¦rªºµ²ªG¡C¥H½s¸¹
1
ªº¥´¦r±Æª©¬°¨Ò¡A¿é¥Xªº¤å¦r·|±²¦±¦¨°é°é¡A³Ì«á²æÂ÷¿é¤J¦ì¸m¡A°é°é³vº¥ÂX¤j¨ÃÄÆÂ÷¶}µe±¡C§â¥Ë§Q©_ªº¤Ï³zµøªkµ{¦¡©M¡q¤å¥»©µ¦ù¡r¨Ã¸m¤@°_¡A¤£Ãø¬Ý¥X¨âªÌ³£¦b´£¿ô§ÚÌ¡G¤u¨ãªº©T©w¾Þ§@¤è¦¡©Î¤¶±¡A·|³y¦¨«U³W¡A¨Ã¶i¦Ó¦¨¬°¤@ºØ«ä¦Ò¼Ò¦¡¡A±q¦Ó§í¨î©Î¨¾Ãª¨ä¥¦¥i¯à©Êªºµo®i¡C³o¼Ëªº¤Ï¬Ù¡A«D±`±µªñ¬¥§J¤ñ¡u¤¶±§Y¤º®e¡vªº·§©À¡A¬Æ¦Ü¤wÁͦV¡u¤¶±§Y±±¨î¡vªº«ä·Q§å§P¡C
¡@ |
40 |
¡q¤å¦r«°¥«¡r¡B¡q¤å¥»©µ¦ù¡r©M¥Ë§Q©_ªº§@«~¡A¦b¼ÒÀÀ§Î¦¡¤è±¡A³£¤w¡u¨ÄÂ÷¡v¥é¨v¡C¥t¥~¡A³o¨Ç¼ÒÀÀ§Î¦¡¥HÄAÂЫU³W¬°µ¦²¤¡A¤]¶¶¶Õ®Ê¤É¬°¤å¤Æ§å§P¤u¨ã¡C¡qºôÃÀ¤§¬P¡r¡B¡q½u¯Á¡r¡B¡q¥i¯à©ÊªºÆw¨è¡rµ¥¤å¾Ç¹CÀ¸ªº¼ÒÀÀ§Î¦¡¡A¤£ºÞÄ´³ë©Ò«ü¯Aªº¹ï¶H¬O§_©úÅã¡A¤]³£§e²{Ãþ¦üªº¨«¦V¡A¥~¨Óªº¼vÅT©Î±Òµo¡AÅã¦Ó©ö¨£¡C¥Ñ¬O¡A¤å¾Ç³Ð§@¦V¨ä¥¦¼Æ¦ìÃÀ³NÉÃè¡B«E¤O¶}µo·sªí²{§Î¦¡ªº§V¤O¡A¥i¨£¤@´³¡C
¡@ |
¡@ |
ª`ÄÀ
*
¥»¤å¬°²Ä¥|¤Q©¡°ê¬ì·|¸É§U¬ì¾Ç»P§Þ³N¤Hû°ê¥~µu´Á¬ã¨spµe¡q¤H¡u¹«¡v¤§¶¡¡G¶W¤å¥»¤å¾Çªº¤¶±³]p¬ã¨s¡r³¡¤À¬ã¨s¦¨ªG¡C
|
¡@ |
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 ¡@ |
¡@ |
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/
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 ¡@ |
¡@ | ¡@ |
¡@