A pesquisa busca descrever e analisar as experiências de temporalidades em narrativas digitais, desenvolvidas especificamente pelas produções audiovisuais digitais do grupo de Vjs Embolex. O estudo se dará a partir de uma análise comparativa entre a influência da narrativa midiática na percepção da temporalidade moderna e as temporalidades proporcionadas pelas novas tecnologias de comunicação e suas narrativas. Busca-se entender em que medida a inserção das tecnologias digitais provocaram mudanças no deslocamento da noção de temporalidade diacrônica proporcionando o advento de outras temporalidades técnicas. Primeiramente, é feita a contextualização das narrativas midiáticas diacrônicas, por meio de numa análise histórica introdutória que estabelece a relação entre as distintas tecnologias midiáticas (a oral, a escrita e as eletrônicas) e as respectivas temporalidades narrativas que engendraram. Num segundo momento, a pesquisa busca desenvolver um estudo sobre as produções audiovisuais digitais do núcleo de Vjs Embolex. A análise destas produções buscará identificar os tipos específicos de temporalidades técnicas apresentadas por suas narrativas, além dos seus conteúdos e especificidades estéticas. / The research seeks to describe and analyse the experiences of temporality in digital narratives developed specifically by the audiovisual digital production of the group of Vjs Embolex. The study will take place from a comparative analysis on the influence of media narratives on perception of the modern temporality and the temporalities offered by new communication technologies and their narratives. We seek to understand to what extent the insertion of digital technologies have caused changes in the displacement of the notion of diachronic temporality providing the advent of other technical temporalities. Firstly, the context of the diachronic narratives produced by the media is drawn through an introductory historical analysis that establishes the relationship between the different media technologies (oral, written and electronic) and the type of temporality they engender. Secondly, the research seeks to develop a study on the audiovisual digital production of Embolex Vjs. The analysis of these productions aims to identify the specific types of technical temporalities presented by their narratives, beyond their specific content and aesthetics.

A pesquisa busca descrever e analisar as experiências de temporalidades em narrativas digitais, desenvolvidas especificamente pelas produções audiovisuais digitais do grupo de Vjs Embolex. O estudo se dará a partir de uma análise comparativa entre a influência da narrativa midiática na percepção da temporalidade moderna e as temporalidades proporcionadas pelas novas tecnologias de comunicação e suas narrativas. Busca-se entender em que medida a inserção das tecnologias digitais provocaram mudanças no deslocamento da noção de temporalidade diacrônica proporcionando o advento de outras temporalidades técnicas. Primeiramente, é feita a contextualização das narrativas midiáticas diacrônicas, por meio de numa análise histórica introdutória que estabelece a relação entre as distintas tecnologias midiáticas (a oral, a escrita e as eletrônicas) e as respectivas temporalidades narrativas que engendraram. Num segundo momento, a pesquisa busca desenvolver um estudo sobre as produções audiovisuais digitais do núcleo de Vjs Embolex. A análise destas produções buscará identificar os tipos específicos de temporalidades técnicas apresentadas por suas narrativas, além dos seus conteúdos e especificidades estéticas. / The research seeks to describe and analyse the experiences of temporality in digital narratives developed specifically by the audiovisual digital production of the group of Vjs Embolex. The study will take place from a comparative analysis on the influence of media narratives on perception of the modern temporality and the temporalities offered by new communication technologies and their narratives. We seek to understand to what extent the insertion of digital technologies have caused changes in the displacement of the notion of diachronic temporality providing the advent of other technical temporalities. Firstly, the context of the diachronic narratives produced by the media is drawn through an introductory historical analysis that establishes the relationship between the different media technologies (oral, written and electronic) and the type of temporality they engender. Secondly, the research seeks to develop a study on the audiovisual digital production of Embolex Vjs. The analysis of these productions aims to identify the specific types of technical temporalities presented by their narratives, beyond their specific content and aesthetics.

In December 2012, the brutal gang rape and murder of Jyoti Singh in New Delhi, India sparked international outrage leading to numerous protests. Singh’s story raised many questions regarding sexual violence and rape culture in India. We Are Angry is a digital narrative that responds to sexual assault and misogyny in India through the story of a victim whose tragedy mirrors that of Singh and many others. The purpose of this thesis is to explore the rhetorical potential of digital narratives through the analysis of We Are Angry. Specifically, I used Fisher’s Narrative Paradigm as a lens to determine how the use of hypertext impacts the narrative’s inherent rationality, fidelity, and coherence. This thesis illustrates that digital narratives’ use of hypertext allows the creator to develop a narrative in a way that can expand the reader’s knowledge on prominent international social justice issues. Hypertext further enhances the level of fidelity and coherence for a reader who may not be familiar with the Indian setting. / Master of Arts

This creative project explores some major issues about visual communication in digital games. The project will continue to address new questions and invite questions from my visual and communication design colleagues. My hope is that, through this document, designers will see digital games like photography was seen around the turn of the century, and movies in the 1950's and 60's. In other words, as a rich new medium that offers creative people a virtually unexplored environment in which to work and create.�

Submitted by Marlene Aparecida de Souza Cardozo (mcardozo@pucsp.br) on 2017-01-24T16:52:29Z No. of bitstreams: 1 Wermes Dias Damascena Cruz.pdf: 1339409 bytes, checksum: 8ff8c06de70758b0255d4935dd690e35 (MD5) / Made available in DSpace on 2017-01-24T16:52:29Z (GMT). No. of bitstreams: 1 Wermes Dias Damascena Cruz.pdf: 1339409 bytes, checksum: 8ff8c06de70758b0255d4935dd690e35 (MD5) Previous issue date: 2016-12-14 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The present study it has objective to identify and to analyse the knowledge developed and/or mobilized in the digital narratives elaborated by the participant pupils of the project Light in the My Life. It presented as justification discussion of the possibilities for integration of Information and Communication Digital Technologies - TDIC in producing narratives which implies thinking how technologies are being used in school. To support the discussions seeks to support the following theorists: Valente (2005, 2008, 1999) Almeida and Valente (2007, 2011, 2012) and Almeida (2005, 2014, 2015, 2016), discussing the concepts of integration of TDIC the curriculum and the construction of digital storytelling; Coll, Pozo, Sarabia and Valls (1998), which focus of the studies is in the learning of concepts, procedures and attitudes; Papert (1985) what discusses the role of the computer in the construction of knowledge and the development of thought among others. The context of the research is the Research Network and Collaboration University School which was formed by an initiative of PUC-SP, organized by the Teacher Training Research Group Supported Virtual Environment, with the participation of university teachers and teachers and students from public schools belong to the state or municipal education of different states: Mato Grosso do Sul, São Paulo, Pernambuco, Bahia and Tocantins. The Edmodo Platform was used as technologicalsupport of the interactions between the membersof the net, that had accomplished activitiesaround investigation projects on thematic Light. It's research is characterized as a qualitative approach to documentary study using the procedure of content analysis that part of one or more words in narrative documents expressed by textual writings, images and audio available in the videos of the narratives produced by students of the participating schools. As support for analysis, organization of thematerials, generation of maps of words and transcription of the videos used NVivo 11, version Pro. The research presented as result of the knowledge mobilized in the action by students, in research and exploration activities that enabled the learners to be subjects of their own learning. The double-produced narratives evidence knowledge built in collaboration, fruit in action with the effective participation in the project activities and evidenced in the narratives analyzed / O presente estudo tem por objetivo identificar e analisar os conhecimentos desenvolvidos e/ou mobilizados nas narrativas digitais elaboradas pelos alunos participantes no projeto Luz na Minha Vida. Apresenta como justificativa a discussão sobre as possibilidades de integração das Tecnologias Digitais da Informação e Comunicação (TDIC) na produção de narrativas, o que supõe pensar como as ferramentas estão sendo utilizadas na escola. Para sustentar as discussões, buscou-se apoio nos seguintes teóricos: Valente (2005, 2008, 1999); Almeida e Valente (2007, 2011, 2012); Almeida (2005, 2014, 2015, 2016), que discutem os conceitos de integração das TDIC no currículo e a construção de narrativas digitais; Coll, Pozo, Sarabia e Valls (1998), cujos estudos enfatizam a aprendizagem de conceitos, procedimentos e atitudes; Papert (1985), que discute o papel do computador na construção do conhecimento e no desenvolvimento do pensamento; entre outros. O contexto da investigação é a Rede de Pesquisa e Colaboração Universidade-Escola, uma iniciativa da Pontifícia Universidade Católica de São Paulo (PUC-SP), organizada pelo grupo de pesquisa Formação de Educadores com Suporte em Ambiente Virtual, com a participação de professores de universidades, professores e alunos de escolas públicas pertencentes à rede estadual ou municipal de ensino de diferentes estados: Mato Grosso do Sul, São Paulo, Pernambuco, Bahia e Tocantins. Como suporte tecnológico das interações entre os membros da Rede, foi utilizada a Plataforma Edmodo, para realizar atividades em torno de projetos de investigação sobre a temática Luz. Esta pesquisa caracteriza-se como um estudo documental de abordagem qualitativa que utiliza como procedimento a análise de conteúdo que parte de uma ou mais palavras nos documentos narrativos expressados por escritos textuais, imagens e áudio disponíveis nos vídeos das narrativas elaboradas pelos alunos de uma das escolas participantes. Como suporte para análise, organização dos materiais, geração de mapas de palavras e transcrição dos vídeos, foi utilizado o software NVivo 11, versão Pro. A pesquisa apresenta como resultado os conhecimentos mobilizados na ação pelos alunos, em atividades de pesquisa e exploração que possibilitou aos aprendizes serem sujeitos da própria aprendizagem. As narrativas produzidas em dupla evidenciam conhecimentos construídos em colaboração, frutos da ação com a efetiva participação nas atividades do projeto e evidenciados nas narrativas analisadas

This dissertation aims at positioning adventure games in game studies, by describing their formal aspects and how they have integrated game design with stories. The adventure game genre includes text adventures (also known as interactive fiction), graphical text adventures, and graphic adventures, also referred to as point-and-click adventure games. Adventure games have been the first videogames to evidence the difficulty of reconciling games and stories, an already controversial topic in game studies. An adventure game is a simulation, the intersection between the rule system of the game and its fictional world. The simulation becomes a performance space for the player. The simulation establishes how the player can interact with the world of the game. The simulated world integrates a series of concatenated puzzles, which structure the performance of the player. Solving the puzzles thus means advancing in the story of the game. The integration of the story with the simulation is done through the performance of the player. The game design establishes a specific set of actions necessary to complete both the game and the story, and this set of actions constitutes a behavior that must be restored through performance. The player can also explore the world and its workings, which is necessary to solve the puzzles. By solving the puzzles, the player restores this pre-set behavior. The simulation in adventure games may not be evident because of a historical shift in the level of abstraction, which determines how the world is implemented in the game mechanics. Adventure games have increasingly curbed the agency of the player in the world, in order to facilitate completing the story of the game. This move to a less fine-grained interaction has affected different aspects of game design, from reducing the number of possible actions to limiting the interactivity of non-player characters. The dissertation discusses how adventure games have integrated story with the performance in the simulated world of the game. This integration is further evidenced by how they apply to the four basic elements that bridge story and game design: space, player character, non-player character and time. The qualities of these elements help us understand how the player performs in the simulation, and how that performance is designed. Analyzing the properties of the simulation in adventure games helps draw comparisons with other videogame genres. The rich history of adventure games can inform the game design of other videogames, particularly in relation to the creation of fictional worlds, strategies to script the interactor, and design of non-player characters.

As tecnologias digitais têm permitido a construção de universos visuais, sonoros e textuais abrindo, através dos jogos eletrônicos, novas possibilidades de experimentação e construção de narrativas interativas. Nesta pesquisa procuramos buscar um entendimento mais amplo sobre como as características inerentes às narrativas digitais interativas e aos jogos eletrônicos podem, através de fatores quantitativos e qualitativos, envolver seus usuários. Para tanto, consideramos a execução de pesquisa teórica e pesquisa prática aplicadas a conceitos definidos como prazeres estéticos, a saber: imersão, agenciamento e transformação. A pesquisa prática foi direcionada para um universo específico denominado Infocentros, composto por usuários de uma comunidade que, em parte, acessam seus computadores e recursos de Internet para a prática de jogos eletrônicos. / The digital technology has allowed the construction of visual, additive and textual universes, opening, through the videogames, new possibilities for experiment and construction of interactive narratives. In this research, we looked for a broad understanding of how the inherent aspects of the digital interactive narratives and videogames can, through quantitative and qualitative factors, involve their users. We consider the execution of a theoretical and an experimental research applied both by defined concepts such as the esthetic pleasures defined as immersion, agency and transformation. The experimental research was aimed toward a specific universe known as Infocentros, represented by user of a specific community that, in part, access their computers and internet resources for the videogame practices.

This paper will detail the prototyping and subsequent production of an digital narrative experience utilizing the theories of Vladimir Propp. The prototype will examine the theories detailed in Propps Morphology of the Folktale. It will implement Propps narrative functions according to a general scheme, connected by connectives. The prototype will dynamically generate narratives according to this scheme. Finally, this paper will draw conclusions about the advantages of a Propp-based system of narrative generation and the narratives produced compared to other digital narratives, such as hypertext.

As tecnologias digitais têm permitido a construção de universos visuais, sonoros e textuais abrindo, através dos jogos eletrônicos, novas possibilidades de experimentação e construção de narrativas interativas. Nesta pesquisa procuramos buscar um entendimento mais amplo sobre como as características inerentes às narrativas digitais interativas e aos jogos eletrônicos podem, através de fatores quantitativos e qualitativos, envolver seus usuários. Para tanto, consideramos a execução de pesquisa teórica e pesquisa prática aplicadas a conceitos definidos como prazeres estéticos, a saber: imersão, agenciamento e transformação. A pesquisa prática foi direcionada para um universo específico denominado Infocentros, composto por usuários de uma comunidade que, em parte, acessam seus computadores e recursos de Internet para a prática de jogos eletrônicos. / The digital technology has allowed the construction of visual, additive and textual universes, opening, through the videogames, new possibilities for experiment and construction of interactive narratives. In this research, we looked for a broad understanding of how the inherent aspects of the digital interactive narratives and videogames can, through quantitative and qualitative factors, involve their users. We consider the execution of a theoretical and an experimental research applied both by defined concepts such as the esthetic pleasures defined as immersion, agency and transformation. The experimental research was aimed toward a specific universe known as Infocentros, represented by user of a specific community that, in part, access their computers and internet resources for the videogame practices.

Since its development, critics of electronic literature have touted all that is “new” about the field, commenting on how these works make revolutionary use of non-linear structure, hyperlinks, and user interaction. Scholars of digital narrative have most often focused their critiques within the paradigms of either the text-centric structuralist model of narrativity or post-structuralist models that implicate the text as fundamentally fluid and dependent upon its reader for meaning. But neither of these approaches can account completely for the unique modes in which digital narratives prompt readerly progression, yet still exist as independent creative artifacts marked by purposive design. I argue that, in both practice and theory, we must approach digital-born narratives as belonging to a third, hybrid paradigm. In contrast to standard critical approaches, I interrogate the presumed “newness” of digital narratives to reveal many aspects of these works that hearken to print predecessors and thus confirm classical narratological theories of structure and authorship. Simultaneously, though, I demonstrate that narrative theory must be revised and expanded to account for some of the innovative techniques inherent to digital-born narrative. Across media formats, theories of narrative beginnings, endings, and authorship contribute to understanding of readerly progress and comprehension. My analysis of Leishman’s electronically animated work Deviant: The Possession of Christian Shaw shows how digital narratives extend theories of narrative beginnings, confirming theoretical suitability of existing rules of notice, expectations for mouseover actions, and the role of institutional and authorial antetexts. My close study of Jackson’s hypertext my body: a Wunderkammer likewise informs scholarship on narrative endings, as my body does not provide a neatly linear plot, and thus does not cleanly correspond to theories of endings that revolve around conceptions of instabilities or tensions. Yet I argue that there is still compelling reason to read for narrative closure, and thus narrative coherence, within this and other digital works. Finally, my inquiry into Pullinger and Joseph’s collaboratively written Flight Paths: A Networked Novel firmly justifies the theory of implied authorship in both print and digital environments and confirms the suitability of this construct to a range of texts.