對於許多人而言，在寫作時要寫什麼題材、元素常另人傷透腦筋。本研究的目的為透過設計一個輔助敘事創作的電腦系統，來激發使用者在素材上的創造力，以期幫助使用者創作出一個題材新穎的故事。許多電腦輔助系統 (如 CAD, CAI, ITS等)，已經注意到協助創意思考的重要性。Liu (2000) 利用電腦運算將形狀重組，讓原本單一的形狀能延伸出許多不同的形狀，提供更多的變異性以激發使用者的創造力；因而本研究擬對於圖片、文字等以內容為主的元素，嘗試以Liu所提出的方式再生多樣的訊息；然而目前電腦要產生內容性的元素仍十分困難，因此人們對同樣一件事物的不同的想法，便成了提供變異內容的最佳資料庫，例如，Huang, Li, Wang & Chang (2007) 便利用腦力激盪的合作方式達成創意學習的目標。 本研究針對敘事創作，提出一個Picture-Attributed-Note (PAN) 架構，期望能激發使用者的敘事創意並協助其完成故事創作。在激發創意的部份，我們利用圖片、分類和筆記來呈現和記錄資料。其中分類筆記是以文字方式呈現，我們採用 Rabiger (2000) 所提出的 Character, Location, Object, Situation, Action, and Theme (CLOSAT) 來進行分類，藉圖片和分類資料的刺激，讓使用者能對故事中各樣的元素有更多的想法或聯想，以達到透過變異資料來激發創造力的目的。我們以PAN架構為基礎實作了一個電腦輔助系統來了解系統對使用者所產生的影響，並驗證所設計系統的有效性。本研究邀請了四位受測者來創作故事，其中一位在創作過程中沒有系統的輔助。在創作完畢後，四位受測者皆立刻觀看實施影音回溯來說明創作的過程。此資料最後用內容分析法，透過Chen (2002) 針對電腦系統所提出涵蓋 Conceptual, Operation, Perceptual和 Evaluation四個構面的編碼予以分析比較。實驗結果說明PAN 系統能幫助激發使用者尋找元素且不會改變使用者敘事創作的過程，同時PAN系統的介面設計能讓使用者能更專注於敘事創作的過程。 / It is difficult to find elements or topics for many people when they are writing a story. The goal of this research is to design a computer-aided system for narrative, which can stimulate user’s creativity on finding story elements. Many computer-aided systems (e.g. CAD, CAI, ITS etc.) have noticed the importance of assisting creative thinking. Liu (2000) reassembled a shape to provide different shapes for users, so their creativity can be stimulated through seeing more variables. This study uses pictures and texts as the elements and tries to use Liu’s method to reproduce more elements. However, it is difficult for computer to automatically generate pictures and texts that can deliver appropriate meanings and contexts. Nevertheless, people’s divergent thinking is a good source for computer to leverage. For instance, Huang, Li, Wang & Chang (2007) proposed a method to assist creative learning by brainstorming and cooperation. In this study, we focus on narrative creation and propose a Picture-Attributed-Note (PAN) framework to assist a writer’s creating process. We use picture and attributed notes to present and record story elements and to stimulate creativity. The attributed notes are presented by texts and in this study we utilize six attributes: Character, Location, Object, Situation, Action, and Theme (CLOSAT), which were proposed by Rabiger (2000), to categorize the text. We attempt to stimulate user’s creativity through the pictures and attributed notes and make the user think and associate elements for his/her story. In this study, we have implemented the PAN framework as a computer-aided system and conducted experiments to know how a user uses the PAN system for story writing. We invited four participants to create a story, one without the PAN system. When they completed their stories, they were asked to do video/audio protocol immediately. We used content analysis to analyze the data through four main categories: Conceptual, Operational, Perceptional and Evaluation (COPE) coding system, proposed by Chen (2002), to analyze and compare data. The analysis on our experimental results reveals that the PAN system can help stimulate user’s creativity and does not change the writer’s main creating process. In addition, the user interface of the PAN system can allow the user to concentrate more on the creating process.

科技的演進可能改變了人們的生活行為。隨著智慧型手機的快速成長，數位敘事將會以一種嶄新的方式產出行動內容。我們透過互動設計的元素以及「行動敘事」的特性為依據，設計了一個無所不在的「行動協作數位敘事平台」，以促進這個改變能實現。利用這個平台，使用者根據他/她的所在地，不僅可以下載閱聽附近的行動內容，並且可以增修或記錄周遭的事物後上傳。我們並加進「協作」的功能到此平台，以提昇內容的多元與豐富，使得閱聽者，更能夠沉浸在敘述的內容當中。除此之外，本平台也增進網路技術，使其可以在離線時仍然可以持續記錄與協作內容，不受時空限制。 我們建置了這個平台以APP的型式在Android系統上呈現，並作田野實驗，以研究此新的行動協作敘事型態。我們針對平台進行兩個部分的評估與分析，其一為使用者介面的評估，我們以放聲思考法進行，並隨後對介面做出修正；其二為平台系統使用評估，此部分以訪談法進行，並同時與系統Log作比對驗證。平台實驗發現的設計元素以及使用行為，希望可以在未來對此領域欲進一步研究者，提供很好的建議。 / Technologies could change users’ behaviors. As the recent growth of mobile smartphones, digital narrative would have a new way to create mobile content. Through interactive design components and features of “mobile narrative”, we design a "Mobile Collaboration Digital Narrative Platform" to facilitate this change. A user can retrieve nearby mobile content, and also have the ability to add, edit or record what is happening at his/her present location. By adding the feature of “collaborative content creation” to the platform, the content can be made more diverse and rich and the reader can better immerse him or herself in it. Moreover, by the enhanced network technology, the platform can also work in offline mode to make it function ubiquitously. In order to study the new type of mobile collaborative narration, we develop the system (an Android App) and do field trial. We evaluate and analyze the system for two parts: one for the assessment of the user interface, and the other for system usage evaluation. We use the think aloud method for the former to amend interface design. For the latter, we interview with users, which are also compared with the system log for justification. The design components and the results for usage behaviors that we found from the new platform will provide a good recommendation for future further study in the field.

[pt] A presente tese tem por objetivo geral fornecer à luz de metodologias de Design em Situações de Ensino-Aprendizagem, o uso de recursos inclusivos para o desenvolvimento de narrativas digitais bilíngues para crianças surdas, de forma participativa. Aborda questões históricas acerca do oralismo e gestualismo, como a aquisição da linguagem na mais tenra idade é fundamental para o desenvolvimento cognitivo infantil e as dificuldades encontradas no ensino simultâneo da Língua Brasileira de Sinais, a LIBRAS e do português escrito. Apresenta uma reflexão sobre como a tecnologia pode ser usada como mediadora para a aprendizagem de conteúdos socioculturais, assim como o desenvolvimento de habilidades sensório-motoras e cognitivas no processo de crescimento da criança. Desenvolve-se como um estudo de caso com a criação de uma história interativa digital bilíngue, concebida e desenvolvida pela equipe do Laboratório Interdisciplinar Design/Educação, do Departamento de Artes e Design, da PUC-Rio (LIDE | DAD | PUC-Rio), contemplada pela Chamada Universal 14/2013 - CNPq, que tem as etapas para a sua construção descritas. Ao final, disponibiliza orientações para a construção de narrativas interativas digitais com os objetivos acima descritos, a fim de fomentar o campo do Design em Parceria com a Educação, ampliando o alcance de projetos desta natureza para este público. / [en] The goal of this research is to provide, based on methodologies of Design in Teaching-Learning Situations, the use of inclusive resources for the development of bilingual digital narratives for hearing-impaired children, in a participatory way. It will address historical questions about oralism and gesturalism, how the acquisition of language at an early age is fundamental for children s cognitive development and the difficulties to simultaneous teaching of the Brazilian Sign Language, LIBRAS and written Portuguese. It presents a reflection about how the technology can be used as mediator for the learning of socio-cultural contents, as well as the development of sensory-motor and cognitive abilities in the process of the child s growth. And we will design a bilingual digital interactive story, conceived and developed by the team of the Interdisciplinary Design / Education Laboratory, Department of Arts and Design, PUC-Rio (LIDE | DAD | PUC-Rio), contemplated by the Universal Call 14/2013 - CNPq, and the steps will described. At the end, it provides guidelines for the construction of interactive digital narratives with the objectives described above, in order to foster the field of Design in Partnership with Education, expanding the reach of projects of this nature for this public.

No description available.

傳統敘事如小說透過文字表現，如攝影凍結時間以照片表現，如影片透過蒙太奇將事件以時間序列安排，而數位敘事竟能一次包含上述所有文本於一體，其中奧妙的敘事模式究竟為何？本研究的主體－資料庫，作為數位敘事的一種類型，一種文化形式，如何將傳統敘事元素徹底拆解成數碼格式？又這些傳統敘事元素如何轉換、又如何殘存於資料庫敘事中？ 藉由文獻分析之過程，探究傳統敘事理論與數位敘事理論之間的可能關係，並透過所選個案文本【Bleeding Through Layers of Los Angeles：1920-1986】，進行「敘事結構」、「敘事觀點轉換」兩大面向之分析，試圖瞭解在數位的浪潮下，人們說故事的方式、故事的樣貌是否有變化的可能性，以提供數位敘事設計者一些理論與實務上的思考。本研究結果歸納如下：1. 開放的敘事結構啟動讀者更多闡釋，2.互為文本的兼蓄性讓敘事有最大程度展示空間，3. 互動敘事達到讀者實質與文本互動。 / Fiction performs through text. Photography performs through images. Movie performs with video; with the help of montage, video has meanings. All of them are traditional narratives, and digital narrative contains all of the above. How does digital narrative work these out? This research aims to discuss “the database narratives”. As a type of digital narrative, how does database narrative completely dismantle the traditional narrative elements into a digital format? By analyzing the reference documents, we could find the relation between theories of the traditional narrative and digital narrative. Through the selected piece of work “Bleeding Through Layers of Los Angeles：1920-1986”, this research focuses on "narrative structure," and "point of view," trying to understand the way of storytelling in digital times. This research concludes with the following: 1. Open narrative structure renders a text more interpretations. 2. Inter-textuality enhances the scale of narrative to the most. 3. Interactive narrative enables readers more interactions with the text.

Creative Project Abstract: The creative project of this thesis is a script prototype for Underland, a crime drama video game and digital playable story that demonstrates writing and design methods for negotiating narrative and player agency. The story is set in October 2006 and players are investigative psychologists given access to a secure police server and tasked with analysing evidence related to two linked murders that have resulted in the arrest of journalist Silvi Moore. The aim is to uncover what happened and why by analysing Silvi’s flat, calendar of events, emails, texts, photos, voicemail, call log, 999 call, a map of the city of Plymouth and a crime scene. It is a combination of story exploration game and digital epistolary fiction that is structured via an authored fabula and dynamic syuzhet and uses the Internal-Exploratory and Internal-Ontological interactive modes to negotiate narrative and player agency. Its use of this structure and these modes shows how playable stories are uniquely positioned to deliver self-directed and empathetic emotional immersion simultaneously. The story is told in a mixture of enacted, embedded, evoked, environmental and epistolary narrative, the combination of which contributes new knowledge on how writers can use mystery, suspense and dramatic irony in playable stories. The interactive script prototype is accessible at underlandgame.com and is a means to represent how the final game is intended to be experienced by players. Thesis Abstract: This thesis considers writing and design methods for playable stories that negotiate narrative and player agency. By approaching the topic through the lens of creative writing practice, it seeks to fill a gap in the literature related to the execution of interactive and narrative devices as a practitioner. Chapter 1 defines the key terms for understanding the field and surveys the academic and theoretical debate to identify the challenges and opportunities for writers and creators. In this it departs from the dominant vision of the future of digital playable stories as the ‘holodeck,’ a simulated reality players can enter and manipulate and that shapes around them as story protagonists. Building on narratological theory it contributes a new term—the dynamic syuzhet—to express an alternate negotiation of narrative and player agency within current technological realities. Three further terms—the authored fabula, fixed syuzhet and improvised fabula—are also contributed as means to compare and contrast the narrative structures and affordances available to writers of live, digital and live-digital hybrid work. Chapter 2 conducts a qualitative analysis of digital, live and live-digital playable stories, released 2010–2016, and combines this with insights gained from primary interviews with their writers and creators to identify the techniques at work and their implications for narrative and player agency. This analysis contributes new knowledge to writing and design approaches in four interactive modes—Internal-Ontological, Internal-Exploratory, External-Ontological and External-Exploratory—that impact on where players are positioned in the work and how the experiential narrative unfolds. Chapter 3 shows how the knowledge developed through academic research informed the creation of a new playable story, Underland; as well as how the creative practice informed the academic research. Underland provides a means to demonstrate how making players protagonists of the experience, rather than of the story, enables the coupling of self-directed and empathetic emotional immersion in a way uniquely available to digital playable stories. It further shows how this negotiation of narrative and player agency can use a combination of enacted, embedded, evoked, environmental and epistolary narrative to employ dramatic irony in a new way. These findings demonstrate ways playable stories can be written and designed to deliver the ‘traditional’ pleasure of narrative and the ‘newer’ pleasure of player agency without sacrificing either.