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Journal articles on the topic 'Interactive narratives'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Echeverri, Daniel. "Sincerely Yours: Orchestrating Tangible Interactive Narrative Experiences." Cubic Journal, no. 3 (November 2020): 202–7. http://dx.doi.org/10.31182/cubic.2020.3.032.

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This paper briefly reflects on two aspects of narrative: the use of multimodal analysis to understand the relationships between the senses and the narrative, as well as digital and physical content, and the implications brought from this analytical perspective on the design of interactive narratives. The latter, in particular, concerns narratives that involve tangible interaction and physical manipulation of objects. The creative process of Letters to José, a physical-digital hybrid nonfiction narrative, exemplifies this reflection. In this narrative, the person interacting with the story take

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Steinemann, Sharon T., Glena H. Iten, Klaus Opwis, Seamus F. Forde, Lars Frasseck, and Elisa D. Mekler. "Interactive Narratives Affecting Social Change." Journal of Media Psychology 29, no. 1 (2017): 54–66. http://dx.doi.org/10.1027/1864-1105/a000211.

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Abstract. Interactive narratives offer interesting opportunities for the study of the impact of media on behavior. A growing amount of research on games advocating social change, including those focusing on interactive narratives, has highlighted their potential for attitudinal and behavioral impact. In this study, we examine the relationship between interactivity and prosocial behavior, as well as potential underlying processes. A yoked study design with 634 participants compared an interactive with a noninteractive narrative. Structural equation modeling revealed no significant differences i

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Ursu, Marian F., Maureen Thomas, Ian Kegel, et al. "Interactive TV narratives." ACM Transactions on Multimedia Computing, Communications, and Applications 4, no. 4 (2008): 1–39. http://dx.doi.org/10.1145/1412196.1412198.

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Si, Mei, and Stacy C. Marsella. "Encoding Theory of Mind in Character Design for Pedagogical Interactive Narrative." Advances in Human-Computer Interaction 2014 (2014): 1–10. http://dx.doi.org/10.1155/2014/386928.

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Computer aided interactive narrative allows people to participate actively in a dynamically unfolding story, by playing a character or by exerting directorial control. Because of its potential for providing interesting stories as well as allowing user interaction, interactive narrative has been recognized as a promising tool for providing both education and entertainment. This paper discusses the challenges in creating interactive narratives for pedagogical applications and how the challenges can be addressed by using agent-based technologies. We argue that a rich model of characters and in pa

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Achten, Henri. "Interaction Narratives for Responsive Architecture." Buildings 9, no. 3 (2019): 66. http://dx.doi.org/10.3390/buildings9030066.

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In this position paper, we present the results of an ongoing theoretical investigation into the phenomenon of interactive architecture. Interaction in architecture deals with the meaningful exchange of information and physical acts between building and person. This goes beyond responsive systems like automated doors, shading systems, and so on. Most examples of interactive architecture are technological explorations that probe possibilities and the potential for interaction. In this paper we claim that this is not enough. The notion of interactive architecture is explored through social aspect

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Lannamann, John W., and Sheila McNamee. "Narratives of the interactive moment." Narrative Inquiry 21, no. 2 (2011): 382–90. http://dx.doi.org/10.1075/ni.21.2.18lan.

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In this article, we identify the contributions to narrative approaches that emerge from a communication perspective. We elaborate on an approach to narrative that centers on the joint, interactive aspects of narrative construction and discuss why it is useful for navigating around two pitfalls encountered by narrative scholars: (1) the psychologist’s fallacy and (2) the problems of finalization in narrative.

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Etxeberria, Feli, Verónica Azpillaga, Nahia Intxausti, Asunción Martínez-Arbelaiz, Iñaki Pikabea, and Anat Stavans. "Discourse organization in parent-led narratives." Narrative Inquiry 25, no. 1 (2015): 70–90. http://dx.doi.org/10.1075/ni.25.1.05etx.

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This article analyzes parent narratives in Basque and Spanish by means of a story aimed at boys and girls between ages of 3 and 8 in order to investigate the similarities and differences in the narrative input provided by parents, paying attention to structural and organizational features in terms of their narrative forms and functions. We used a quantitative methodology that recorded the frequencies of the different variables under study: narrative length, structure, cohesion (connectors and verb tense), and the types of interaction between adults and children in both languages. The results s

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Rieser, Martin. "Interactive Narratives: A Form of Fiction?" Convergence: The International Journal of Research into New Media Technologies 3, no. 1 (1997): 10–19. http://dx.doi.org/10.1177/135485659700300102.

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9

Ursu, Marian F., Ian C. Kegel, Doug Williams, et al. "ShapeShifting TV: interactive screen media narratives." Multimedia Systems 14, no. 2 (2008): 115–32. http://dx.doi.org/10.1007/s00530-008-0119-z.

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10

Ammanabrolu, Prithviraj, and Mark O. Riedl. "Situated language learning via interactive narratives." Patterns 2, no. 9 (2021): 100316. http://dx.doi.org/10.1016/j.patter.2021.100316.

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Takeda, Kenji, Graeme Earl, Jeremy Frey, Simon Keay, and Alex Wade. "Enhancing research publications using Rich Interactive Narratives." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 371, no. 1983 (2013): 20120090. http://dx.doi.org/10.1098/rsta.2012.0090.

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It is desirable in many disciplines to include supplementary information to add value to research publications, particularly in digital form. The concept of interactive publications, in which the reader can browse and navigate through in a nonlinear manner, is one such medium that is explored in this paper. We describe the application of the Rich Interactive Narrative framework to provide such a mechanism in the fields of archaeology and chemistry, to supplement academic journal papers. This system provides both passive (pre-recorded) and active (user-led) interaction modes to navigate through

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Bruni, Luis Emilio, and Sarune Baceviciute. "On the embedded cognition of non-verbal narratives." Sign Systems Studies 42, no. 2/3 (2014): 359–75. http://dx.doi.org/10.12697/sss.2014.42.2-3.09.

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Acknowledging that narratives are an important resource in human communication and cognition, the focus of this article is on the cognitive aspects of involvement with visual and auditory non-verbal narratives, particularly in relation to the newest immersive media and digital interactive representational technologies. We consider three relevant trends in narrative studies that have emerged in the 60 years of cognitive and digital revolution. The issue at hand could have implications for developmental psychology, pedagogics, cognitive science, cognitive psychology, ethology and evolutionary st

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Caine, Vera, Pam Steeves, D. Jean Clandinin, Andrew Estefan, Janice Huber, and M. Shaun Murphy. "Social justice practice: A narrative inquiry perspective." Education, Citizenship and Social Justice 13, no. 2 (2017): 133–43. http://dx.doi.org/10.1177/1746197917710235.

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Narrative inquiry is both phenomenon and methodology for understanding experience. In this article, we further develop our understandings of narrative inquiry as a practice of social justice. In particular, we explore ways in which social justice issues can be re-framed and re-imagined, with attention to consequent action. Drawing on work alongside Kevlar, a youth who left school early, we explore our understandings. Being grounded in pragmatism and emphasizing relational understanding of experience situate narrative inquiry and call us to think narratively with stories. This allows for moveme

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Nam, Yanghee. "Designing interactive narratives for mobile augmented reality." Cluster Computing 18, no. 1 (2014): 309–20. http://dx.doi.org/10.1007/s10586-014-0354-3.

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Barber, H., and D. Kudenko. "Generation of Adaptive Dilemma-Based Interactive Narratives." IEEE Transactions on Computational Intelligence and AI in Games 1, no. 4 (2009): 309–26. http://dx.doi.org/10.1109/tciaig.2009.2037925.

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GRANATO, Tania Mara Marques, and Tania Maria José AIELLO-VAISBERG. "Interactive narratives in the investigation of the collective imaginary about motherhood." Estudos de Psicologia (Campinas) 33, no. 1 (2016): 25–35. http://dx.doi.org/10.1590/1982-02752016000100004.

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Abstract Considering narration and psychoanalysis as processes of interpreting human experience, a narrative was developed to investigate the collective imaginary about motherhood. It is a fictional story elaborated by the researchers based on their clinical experience with pregnant women. When the interactive narrative reaches a climax, the researcher interrupts the story and invites the participants to complete it. Subsequently, the researcher and participants discuss the addressed topic and their own experiences during the writing process. In the present study, an interactive narrative abou

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Brown, Neil C. M., Timothy S. Barker, and Dennis Del Favero. "Performing Digital Aesthetics: The Framework for a Theory of the Formation of Interactive Narratives." Leonardo 44, no. 3 (2011): 212–19. http://dx.doi.org/10.1162/leon_a_00165.

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Interactive narratives are inextricable from the way that we understand our encounters with digital technology. This is based upon the way that these encounters are processually formed into a narrative of episodic events, arranged and re-arranged by various levels of agency. After describing past research conducted at the iCinema Research Centre at the University of New South Wales, this paper sets out a framework within which to build a relational theory of interactive narrative formation, outlining future research in the area.

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Dollinger, Bernd. "Subjects in criminality discourse: On the narrative positioning of young defendants." Punishment & Society 20, no. 4 (2017): 477–97. http://dx.doi.org/10.1177/1462474517712977.

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This essay locates itself in the context of “narrative criminology”. By means of analyses of the categorization work performed by young defendants in interviews, it is reconstructed how they conceptualize themselves interactively as subjects and/or “perpetrators”. This categorization not only performs a location within the, respectively, told story and the interactive situation of the interview; the interviewees also position themselves in cultural criminal discourse. The analysis of corresponding narrations can therefore contribute to understanding the connection of individual and public narr

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19

El-Nasr, Magy Seif. "Interaction, narrative, and drama." Interaction Studies 8, no. 2 (2007): 209–40. http://dx.doi.org/10.1075/is.8.2.03eln.

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Interactive narratives have been used in a variety of applications, including video games, educational games, and training simulations. Maintaining engagement within such environments is an important problem, because it affects entertainment, motivation, and presence. Performance arts theorists have discussed and formalized many techniques that increase engagement and enhance dramatic content of art productions. While constructing a narrative manually, using these techniques, is acceptable for linear media, using this approach for interactive environments results in inflexible experiences due

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Spreckels, Janet. "Identity negotiation in small stories among German adolescent girls." Narrative Inquiry 18, no. 2 (2008): 393–413. http://dx.doi.org/10.1075/ni.18.2.11spr.

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In recent years, a change in narrative and identity analysis, which Georgakopoulou has called “a ‘new’ narrative turn” (2006, p. 129), has been observed. This term refers to a shift of focus from the traditional “big stories”, i.e., narratives as a well-defined and delineated genre with an identifiable structure, towards non-canonical “small stories” (Bamberg, 2004). In this article, I will discuss a “small story” in terms of identity negotiation. The data are taken from a larger ethnographic conversation-analytical study of a group of German adolescent girls, who interactively negotiate and c

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21

Veroff, Joseph, Letha Chadiha, Douglas Leber, and Lynne Sutherland. "Affects and Interactions in Newlyweds' Narratives: Black and White Couples Compared." Journal of Narrative and Life History 3, no. 4 (1993): 361–90. http://dx.doi.org/10.1075/jnlh.3.4.03aff.

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Abstract Two main questions guided this research: (a) How do newlyweds' affective statements and interactive styles found in narratives told about their relation-ship help us understand the meaning they make of their marriages? (b) How does analysis of the affective statements and interactive styles of Black couples (n = 136) in comparison to White couples (n = 135) help us understand the differential meaning in these groups? The representative sample was inter-viewed from 5 to 8 months after marriage. The narrative procedure asked the couples to tell the story of their relationship. By and la

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22

Gaudenzi, Sandra. "The WHAT IF IT process." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 111–27. http://dx.doi.org/10.33178/alpha.17.07.

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The WHAT IF IT process is a unique concept development methodology that has been designed to facilitate the ideation of digital interactive narratives. While the production of narrative driven digital artefacts has been developing fast in the last fifteen years, very little research has been done on ideation processes, and no academic methodological evaluation has been shared to date. By sharing the results of a three-years-action research project where existing storytelling, design thinking and agile prototyping techniques have been mixed to create an innovative methodology, the aim of this a

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23

Kinder, Marsha. "Hot Spots, Avatars, and Narrative Fields Forever: Buññuel's Legacy for New Digital Media and Interactive Database Narrative." Film Quarterly 55, no. 4 (2002): 2–15. http://dx.doi.org/10.1525/fq.2002.55.4.2.

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This essay explores Buññuel's legacy for interactive database narratives and their discreet pleasures. Using Buññuel's 1933 conceptual" as an interface design for an interactive installation and for adapting his experimentation to cyberspace, the essay analyzes three strategies: 1) Buññuel's reliance on incongruous objects("hot spots") rather than montage as the primary means of navigating from one scene or level to another; 2)his use of puppet-like avatars who don't conform to psychology or narrative logic but are engaging nevertheless; 3) his creation of a narrative field where story possibi

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Davis, Juliet. "Fractured Cybertales: Navigating the Feminine." Leonardo 41, no. 1 (2008): 26–34. http://dx.doi.org/10.1162/leon.2008.41.1.26.

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The author considers ways in which her interactive artworks “fracture” narratives relating to femininity and critique web-design conventions that often encode these narratives. In the process, she discusses how interactive media and electronic culture provide unique opportunities for exploring gender.

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Yurieva, Nadezhda. "Interactive Component in Oral Narratives of Preschool Children: on the Formulation of Hypothesis." PSYCHOLINGUISTICS 25, no. 2 (2019): 390–406. http://dx.doi.org/10.31470/2309-1797-2019-25-2-390-406.

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The article presents an effort to elaborate the hypothesis for the experimental research devoted to interactive component in the oral narratives of preschool children. It is vital for psycholinguistics to reach a close approach to understanding of the essence of narrative processes which have in ontogenesis their own specifics, and according to some researches, these specifics are presented in indirect character of the process of narrative creation by child in the form of his verbal interaction with an adult. We assume that in order to reveal the ontogenetic cognitive discursive mechanis

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Messner, Monika. "Multimodales Erzählen in der Orchesterprobe." Linguistik Online 104, no. 4 (2020): 83–107. http://dx.doi.org/10.13092/lo.104.7305.

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The focus of attention in this contribution are narrative sequences in orchestra rehearsals realized by the conductor using different semiotic resources such as talk, gesture, facial expressions, gaze and body movement. Adopting a conversation analytic approach to a video-recorded orchestra rehearsal, the article aims to illustrate how narrative elements are implemented in the primarily instructive context of the rehearsal and which functions such narrations fulfil (i. e. joke, argumentation etc.). It will be demonstrated how storytelling is started, unfolded and brought to an end under sequen

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Pope, James. "Further on down the digital road: Narrative design and reading pleasure in five New Media Writing Prize narratives." Convergence: The International Journal of Research into New Media Technologies 26, no. 1 (2017): 35–54. http://dx.doi.org/10.1177/1354856517726603.

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In 2006 and 2010, I published papers in Convergence, which analysed readers’ responses to several interactive narratives: From this research, I formed a set of ‘assessment’ criteria for such narratives, intended to be of use to writers, academics and teachers, looking for ways to understand how readers might react to the very new and changing forms of digital storytelling, which continue to surprise, delight and puzzle readers. Despite huge technical advances, and although some recent examples are doing well commercially, digital interactive narrative remains largely unknown to the general rea

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Brenskott, Krzysztof. "Jak czytać planszówki? Gry planszowe zorientowane na narrację a powieści hipertekstowe." Wielogłos, no. 3 (45) (2020): 161–80. http://dx.doi.org/10.4467/2084395xwi.20.026.12834.

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How to Read Board Games: The Similarities between Narrative-Oriented Board Games and Hypertext Novels In Storytelling in the Modern Board Game: Narrative Trends from the Late 1960s to Today, Marco Arnaudo describes how board games can create narratives by using the tools that ludology and postclassical narratology provide. The way narratives emerge from tabletop games is extremely unique and interactive: they are created through the synergy of the game rules, material components, and actions undertaken by players. Board games, treated as transmedial narrative systems in which the text is entan

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Yu, Hong, and Mark O. Riedl. "Personalized Interactive Narratives via Sequential Recommendation of Plot Points." IEEE Transactions on Computational Intelligence and AI in Games 6, no. 2 (2014): 174–87. http://dx.doi.org/10.1109/tciaig.2013.2282771.

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30

Green, Melanie C., and Keenan M. Jenkins. "Need for Cognition, Transportability, and Engagement with Interactive Narratives." Games for Health Journal 9, no. 3 (2020): 182–86. http://dx.doi.org/10.1089/g4h.2019.0095.

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Kong, Soo-Kyung. "The Effect of Color on Narratives in Interactive Video." Journal of Digital Contents Society 20, no. 10 (2019): 2045–54. http://dx.doi.org/10.9728/dcs.2019.20.10.2045.

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Green, Melanie C., and Keenan M. Jenkins. "Interactive Narratives: Processes and Outcomes in User-Directed Stories." Journal of Communication 64, no. 3 (2014): 479–500. http://dx.doi.org/10.1111/jcom.12093.

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Shafer, Daniel M., Sophie Janicke, and Jonmichael Seibert. "Judgment and Choice: Moral Judgment, Enjoyment and Meaningfulness in Interactive and Non-Interactive Narratives." IOSR Journal of Humanities and Social Science 21, no. 08 (2016): 97–106. http://dx.doi.org/10.9790/0837-21080797106.

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34

O'Brien, Daniel Paul. "Postphenomenological Performance in Interactive Narrative." International Journal of E-Politics 8, no. 2 (2017): 40–55. http://dx.doi.org/10.4018/ijep.2017040104.

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This paper addresses the performance of bodies through a postphenomenological framework developed by Don Ihde. Through his theory, I will argue how performance is central to the stories of two recent interactive artworks: Dennis Del Favero's Scenario (2011) and Blast Theory's A Machine to See With (2010). Both artworks are distinct interactive narratives that utilize the human body in different ways. In each experience, it is essential for the user's body to perform with a technology in order to move the story through a sequence of events. In doing so the user as a performing body co-authors t

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Schlichting, Laura. "Interactive Graphic Journalism." Non-fiction Transmedia 5, no. 10 (2016): 22. http://dx.doi.org/10.18146/2213-0969.2016.jethc110.

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This paper examines graphic journalism (GJ) in a transmedial context, and argues that transmedial graphic journalism (TMGJ) is an important and fruitful new form of visual storytelling, that will re-invigorate the field of journalism, as it steadily tests out and plays with new media, ultimately leading to new challenges in both the production and reception process. With TMGJ, linear narratives may be broken up and ethical issues concerning the emotional and entertainment value are raised when it comes to ‘playing the news’. The aesthetic characteristics of TMGJ will be described and interacti

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Zhao, Yurong, and Yang Zhao. "A corpus-based discourse analysis of conversational storytelling in Chinese adults." Chinese Language and Discourse 5, no. 1 (2014): 53–78. http://dx.doi.org/10.1075/cld.5.1.03zha.

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This paper presents a corpus-based analysis of the nature of spontaneous storytelling activity in daily conversation. Based on both the structural and interactional views of oral narrative, we propose to add another perspective, arguing that conversational storytelling is a three-dimensional construct, with narrative, interactive and cognitive functions performed simultaneously in the context of social communication. The study has recorded 15 pieces of casual talks by 11 adult native speakers of Chinese and extracted 87 stories altogether. From the data, we observe that in the process of conve

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Sousa, Vanda Maria. "As narrativas digitais interativas e transmídia e a sua aplicação na aprendizagem: o storytelling encontrou o CONSTRUIT e partiram em busca do SLIDE." Texto Livre: Linguagem e Tecnologia 12, no. 1 (2019): 72–84. http://dx.doi.org/10.17851/1983-3652.12.1.72-84.

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RESUMO: Nos dias de hoje, o termo storytelling explode numa miríade de aceções. Para muitos, reporta ao contador de tempos ancestrais; para outros, pode ser a nova descoberta na área do marketing e da publicidade (MILLER, 2014) para outros, ainda, convoca à reflexão o conceito de narrativas digitais (JENKINS, 2001). Aqui consideramos o storytelling enquanto ferramenta de aprendizagem. Como esperamos demonstrar, ignorar o potencial das narrativas digitais como ferramenta de aprendizagem é, a limite, ignorar o potencial da linguagem como performativa da identidade. Para isso, convocámos a experi

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Hambleton, Elizabeth. "Gray Areas." Journal of Sound and Music in Games 1, no. 1 (2020): 20–43. http://dx.doi.org/10.1525/jsmg.2020.1.1.20.

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“Navigable narratives” are a subgenre of narrative-based video games under the umbrella definition of “walking simulators.” While they are a subgenre of video games, analyzing their score or soundscape purely through a video game lens paints an incomplete picture because of their different artistic focus. Models like Elizabeth Medina-Gray's modular analysis are a useful start but insufficient on their own to understand this genre's sound. Rather, a participant's experience in a navigable narrative is often quite similar to that of a soundwalk, especially a virtual reality soundwalk; the game c

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Szilas, Nicolas. "A COMPUTATIONAL MODEL OF AN INTELLIGENT NARRATOR FOR INTERACTIVE NARRATIVES." Applied Artificial Intelligence 21, no. 8 (2007): 753–801. http://dx.doi.org/10.1080/08839510701526574.

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CHEONG, Siew Ann, Andrea NANETTI, and Mikhail FHILIPPOV. "Digital Maps and Automatic Narratives for the Interactive Global Histories." Asian review of World Histories 4, no. 1 (2016): 83–123. http://dx.doi.org/10.12773/arwh.2016.4.1.083.

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Miyake, Lynne K. "Interactive narrators and performative readers: Gendered interfacing in Heian narratives." Women & Performance: a journal of feminist theory 12, no. 1 (2001): 23–42. http://dx.doi.org/10.1080/07407700108571350.

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Endrass, Birgit, Christoph Klimmt, Gregor Mehlmann, Elisabeth Andre, and Christian Roth. "Designing User-Character Dialog in Interactive Narratives: An Exploratory Experiment." IEEE Transactions on Computational Intelligence and AI in Games 6, no. 2 (2014): 166–73. http://dx.doi.org/10.1109/tciaig.2013.2290509.

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Stavans, Anat, and Gil Goldzweig. "Parent-child-adult storytelling." Narrative Inquiry 18, no. 2 (2008): 230–57. http://dx.doi.org/10.1075/ni.18.2.04sta.

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Book reading appears to be a highly revered and widely practiced home and school routine within and across literate western cultures. This study examined the relationship between home practices and expected children’s production. We assumed the contribution of home literacy patterns such as storytelling to have a predictive value on the development of children’s narrative productions as one facet of children’s literacy development. To this end, we set out to investigate similarities and differences in the profile of parental narrative input and children’s narrative productions. We first looked

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Recke, Moritz Philip, and Stefano Perna. "Emergent Narratives in Remote Learning Experiences for Project Based Education." Electronic Journal of e-Learning 19, no. 2 (2021): 59–70. http://dx.doi.org/10.34190/ejel.19.2.2142.

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The University of Naples Federico II (Italy) offers a nine-month formative training program aimed at software development for the Apple technology ecosystem to ~400 learners per year and utilises the Challenge Based Learning (CBL) methodology as a framework for learning. As a collaborative and self-guided, inquiry-based learning method, it focuses on learners’ intrinsic motivation while working on real world problems organised in projects (Challenges in CBL) with an experiential and progressive approach to apply acquired knowledge in real world scenarios, ideate solution concepts and build inn

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Lisenkova, A. A. "Digital storytelling and micro-narratives — new forms of representation of personal experience and collective creativity." Slovo ru Baltic accent 12, no. 2 (2021): 45–52. http://dx.doi.org/10.5922/2225-5346-2021-2-3.

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The article analyses the impact of digital technologies on storytelling. By creating new information streams of personalised stories with open storylines in the virtual media environment, the author shares the process of writing a story with other participants in the digital world. The interaction between the author and the audience is transformed under the influence of the hypertext system of cross-references. Each participant in this creative process acts not only as a co-creator, but also as a co-author of many narratives. The narratives, which translate personalized evaluative and often

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Lütge, Christiane, Thorsten Merse, Claudia Owczarek, and Michelle Stannard. "Crossovers: Digitalization and literature in foreign language education." Studies in Second Language Learning and Teaching 9, no. 3 (2019): 519–40. http://dx.doi.org/10.14746/ssllt.2019.9.3.5.

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Digitalization produces increasingly multimodal and interactive literary forms. A major challenge for foreign language education in adopting such forms lies in deconstructing discursive borders between literary education and digital education (romance of the book vs. euphoric media heavens), thereby crossing over into a perspective in which digital and literary education are intertwined. In engaging with digital literary texts, it is additionally important to consider how different competencies and literary/literacy practices interact and inform each other, including: (1) a receptive perspecti

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Balnaves, Mark, and Kim Tomlinson-Baillie. "Yu-Gi-Oh: Interactive Games Narratives in the Era of Compression." International Journal of Learning: Annual Review 12, no. 5 (2006): 371–78. http://dx.doi.org/10.18848/1447-9494/cgp/v12i05/47753.

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Miles, Miranda, and Jonathan Crush. "Personal Narratives as Interactive Texts: Collecting and Interpreting Migrant Life-Histories∗." Professional Geographer 45, no. 1 (1993): 84–94. http://dx.doi.org/10.1111/j.0033-0124.1993.00084.x.

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Hossain, M. Shahriar, Monika Akbar, and Nicholas F. Polys. "Narratives in the Network: Interactive Methods for Mining Cell Signaling Networks." Journal of Computational Biology 19, no. 9 (2012): 1043–59. http://dx.doi.org/10.1089/cmb.2011.0244.

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Barboza, Elisa Maria Rodrigues. "Digital narratives: a study of the Arcade Fire interactive music videos." Comunicação e Sociedade 27 (June 29, 2015): 387–402. http://dx.doi.org/10.17231/comsoc.27(2015).2108.

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Abstract:

Initially seen as an audiovisual product made mainly for television, the music video, in recent years, has been expanding itself and gaining strength in the virtual environment. The possibility of easy and quick access through websites such as Vimeo and YouTube, besides the greater freedom these sites offer in comparison to the schedules of television channels, was only the beginning of the process of this format’s creative development. Its embracing of the technological changes culminates with the appearance of interactive music videos that strengthen investments made in experiences of digita

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