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Body, Space, Interaction : = Embodiment, Narrative, and the Digitization of Media.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Body, Space, Interaction :/
Reminder of title:	Embodiment, Narrative, and the Digitization of Media.
Author:	Buell, Janett Daisy.
Description:	1 online resource (338 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
Contained By:	Dissertation Abstracts International78-11A(E).
Subject:	Multimedia communications. -
Online resource:	click for full text (PQDT)
ISBN:	9780355017595

Body, Space, Interaction : = Embodiment, Narrative, and the Digitization of Media.
Buell, Janett Daisy.

Body, Space, Interaction :Embodiment, Narrative, and the Digitization of Media. - 1 online resource (338 pages)

Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.

Thesis (Ph.D.)

Includes bibliographical references

This dissertation examines the process of digitization within contemporary media, and outlines an initial taxonomy of digitization's impacts on media technologies and human experience of the narrative worlds they open up. I outline how this process and its impacts can be traced by investigating the dynamic relationships among three foundational elements of today's media environment: 1) digital media technologies; 2) the embodied human user of them; and 3) the affective narrative worlds that these technologies each uniquely make available to users as different experiences. From this foundation, I draw out an overarching pattern. Four major types of contemporary media serve as examples delineating a historical trend, through which I trace the rise of digital technologies and explore the changes that digitization has made and continues to make to the technical, cultural, and human-experiential dimensions of visual and electronic media. I argue that the progressive digitization of media over time, beginning with the advent of television as the proto-digital step, shifts the experience of the embodied user away from passive viewing toward active participation with media and the narrative worlds they make manifest, though not without complications due to economic and other forces. This shift also creates new, more complex narrative worlds, born of increased democratic participation in and increased commercial influence over the shared stories of popular culture. In particular, the combination of factors leading to digitization and the influence of the fundamental cultural techniques of the narrative form and the grid have given rise to this increasing degree of active participation as an inherent feature of the digital era. For both the possibility and demand for this participatory quality arise from the nature of the digital as such. In order for the digital realm to offer tangible, effective realities---to become material---an emotional and imaginative human consciousness must interact with it.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355017595Subjects--Topical Terms:

655342
Multimedia communications.
Index Terms--Genre/Form:

554714
Electronic books.

Body, Space, Interaction : = Embodiment, Narrative, and the Digitization of Media.
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500 $a Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
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502 $a Thesis (Ph.D.) $c Yale University $d 2017.
504 $a Includes bibliographical references
520 $a This dissertation examines the process of digitization within contemporary media, and outlines an initial taxonomy of digitization's impacts on media technologies and human experience of the narrative worlds they open up. I outline how this process and its impacts can be traced by investigating the dynamic relationships among three foundational elements of today's media environment: 1) digital media technologies; 2) the embodied human user of them; and 3) the affective narrative worlds that these technologies each uniquely make available to users as different experiences. From this foundation, I draw out an overarching pattern. Four major types of contemporary media serve as examples delineating a historical trend, through which I trace the rise of digital technologies and explore the changes that digitization has made and continues to make to the technical, cultural, and human-experiential dimensions of visual and electronic media. I argue that the progressive digitization of media over time, beginning with the advent of television as the proto-digital step, shifts the experience of the embodied user away from passive viewing toward active participation with media and the narrative worlds they make manifest, though not without complications due to economic and other forces. This shift also creates new, more complex narrative worlds, born of increased democratic participation in and increased commercial influence over the shared stories of popular culture. In particular, the combination of factors leading to digitization and the influence of the fundamental cultural techniques of the narrative form and the grid have given rise to this increasing degree of active participation as an inherent feature of the digital era. For both the possibility and demand for this participatory quality arise from the nature of the digital as such. In order for the digital realm to offer tangible, effective realities---to become material---an emotional and imaginative human consciousness must interact with it.
520 $a My approach considers a spectrum of digital or digitized media types: film, television, the Internet, and virtual and augmented reality technologies. Moving in the rough order of their historical development, and noting the interrelations among them, I explore each media type from three perspectives: how it constructs its characteristic form of narrative space according to its technically- and culturally-determined capacities; how it affects the user's sense of embodiment in that space; and the degree of active narrative participation each medium affords users. Multiple methods of media study are here brought together as a set of lenses. Reference to established theoretical approaches provides grounding for key concepts, while close readings of narrative media texts bring out more nuanced and concrete aspects of media's workings. Multiple theoretical perspectives are engaged: the more culturally- and experientially-focused North American tradition, including the work of Marshall McLuhan, Tara McPherson, Henry Jenkins, Avital Ronell, Garrett Stewart, and others, is juxtaposed with the more technically-oriented approach of the German tradition around Friedrich Kittler, Hans Magnus Enzensberger, and others. These threads are brought usefully together through Bernhard Siegert's concept of cultural techniques, Francesco Casetti and Sara Sampietro's concept of medium as experience, and Sydney J. Shep's concept of digital materiality. This theoretical exploration is then linked with the close readings via N. Katherine Hayles' argument that narrative is a more embodied form of information and so must be paired with abstract theory to reach a fuller understanding of any subject.
520 $a Consideration of the social dimension of human media engagement is also woven into this web, supporting my claim that narrative must be understood as one of the most fundamental and universal cultural technologies at work. The embodied human mind interacts with other embodied minds within a simultaneously social and physical environment, and makes use of media technologies both to experience various narrative worlds and to communicate and share affective experiences with others. These technologies therefore both alter and are altered by the relationships between people, our physical and social realities networked together in media. And as we now increasingly structure even the physical world itself through our engagement with digital media, our active storytelling through the seemingly-immaterial veil of the digital is increasingly precisely what creates the affective realities that we inhabit as imaginative, embodied beings. Yet the nature of the various media we engage with also influence our understanding of and capacities for engaging with the world and shaping stories within it. Therefore, the ongoing technical and cultural changes to our media environment, and the tension between democratic and commercial impulses at work within it, have the potential to reshape human life and engagement with the world in a profound range of ways.
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