http://www2.hawaii.edu/~ztomasze/argax
©2006 by Z. Tomaszewski.
We can thus see that Aristotle's model has come a long way through these additions and reformulations. However, due to the introduction of material and formal causes, a number of omissions and tensions have been introduced.
First of all, we have lost Aristotle's sense of manner. Rather than differentiating between whether a narrative is enacted or presented, Spectacle has come to mean "all that is experienced by the audience."
Secondly, we have lost the idea that the medium is variable, yet still specific. When defining medium, Aristotle admits that medium may be color, harmony, rhythm, etc. (Chapter I). Only in describing tragedy (and other drama such as epic) does he limit himself to Diction and Song. Building on this, Smiley implied that dramas are presented through Diction and Sound, which are primarily auditory channels.
However, in arguing that dramas can be computer-based, Laurel attempted to regain the flexibility of different possible media. In order to allow for visual signs, Sound and Diction was rather ungracefully expanded to Pattern and Language. We now speak only generally of Patterns, rather than specifically of medium-specific modes. Patterns must then be assembled into something as well-defined as a Language in order to serve as the basis of Thought, Character, and Action.
Most importantly, the causal hierarchy implies sequential and exclusive links between the levels. That is, it seems only the level directly below should form the basis for the level above. For example, we certainly construct our understanding of a Character in terms of her Thoughts, which are understood in terms of her spoken Language. However, her physical features, expressions, gestures, costume, and theme music also contribute to our understanding of who a character is. Yet these attributes seem to serve as the material for Character without conveying Thought or using Language.
Mateas runs into this problem when he describes interaction with objects as existing "somewhere between spectacle and pattern" (2004, p.25). Yet what affordances are granted by the raw sensory experiences of Spectacle? What sort of constraints are provided by Patterns such as a purple jacket and an ominous musical chord? Yet it does not seem right to move objects to the level of Character, as objects are not assembled from Language-encoded Thought.
Aristotle does not mention setting or props, probably due to the fact that plays of his time had limited scenery. However, objects in the world play an increasingly important aspect of computer-based interactive drama since they are often the means through which the player can affect the action.
|
Argax Project : Dissertation :
A Rough Draft Node http://www2.hawaii.edu/~ztomasze/argax |
|
Last Edited: 08 Apr 2011 ©2006 by Z. Tomaszewski. |