Towards a Taxonomy of Polymorphic Works
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A presentation I gave at the University of Melbourne in 2005. I'm putting some of my old presentations online for prosperity!
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Towards a Taxonomy of Polymorphic Works
- 1. Texts, Worlds, Realms and Channels: Towards a Taxonomy of Polymorphic Works Christy Dena 17 th August 2005 University of Melbourne
- 2. Ingredients Theatre Installation Networked Art Locative Arts Hybrid Arts Polymorphic Narrative Ergodic Literature Hypertext Fiction Games Treasure-hunt books Conglomerate media ownership Internet Hucksterism
- 10. Taxonomy Values > Channels View Channel Product Form Computer files (pdf, jpg, wmv, mpeg…) DVD, CD-Rom, catridge Print Computer, television, console, portable DVD player, hand-held game… Broadcast Owned Theatre: 16mm, 35mm, 70mm, IMAX Television Internet Radio Computer, console, portable DVD player, mobile phone, PDA, iPod… Print (book, newspaper, magazine…)
- 11. Taxonomy of Polymorphic Works Multi Single Single 2 Single Single Single 1 Multi Multi Single 4 Single Multi Single 3 Single Multi Multi 7 Multi Multi Multi 8 Multi Single Multi 6 Single Single Multi 5 Channel Themeworld Text Type
- 12. Type 2: Component Works Type 2: Single-text, Single ThemeWorld, Multi-Channel Disney and Pixar (2004) Amazing Adventures: Movie Theatre Storybook and Move Projector, Funtastic, South Oakleigh
- 15. Type 3: Crossovers Simpsons Futurama The Simpsons Futurama Crossover Crisis II Time: Delivery Channel Type 3: Single-text, Multi-ThemeWorld, Single-Channel
- 16. Type 7: Series Crossovers Baby it’s You Law & Order Homicide LotS Baby it’s You, Part 2 Time: Delivery Channel Type 7: Multi-text, Multi-ThemeWorld, Single-Channel
- 17. Film DVD, CD, Tape Print Television Website Radio 1999 2000 2001 2002 2003 2004 ThemeWorld: The Matrix 31/03 15/05 The Matrix Comics Graphic Novel Vol.2 The Matrix Comics Vol.1 The Matrix Comics Vol. 1 The Matrix The Matrix Reloaded Matrix Revolutions www.intothematrix.com The Matrix Comics Preview Comic The Animatrix The Animatrix: 4 Episodes The Matrix Comics Vol.1 Preview The Second Renaissance Part 1 (Animatrix) www.matrixonline.com www.theanimatrix.com The Second Renaissance Part 1 (Animatrix) Program (Animatrix Program (Animatrix March Feb 14 th May 3 rd June Enter the Matrix 2005 15 th Nov The Path of Neo
- 18. Issues
- 26. One Life to Live (ABC, 2005) Sourced from: http://abc.go.com/daytime/onelifetolive/index.html Sourced from: http://abc.go.com/daytime/onelifetolive/gallery/61981_1.html From Hyperion Books website: Marcie Walsh works as a receptionist at a police station, where she sees firsthand that truth is actually more bizarre than fiction. The Killing Club is her first novel. She lives in Llanview, Pennsylvania. For more information about Marcie Walsh, please visit www.abc.com/daytime/onelifetolive.com . Marcie Walsh
- 28. GoFigure.net.au (tonyjohansen.com, 2005) In gallery (x3) Described on gofigure.net.au as: ‘ a painting about painting and the act of painting […] In this case it takes the form of a triptych in 4 parts’ Online gallery digitisation
Notes de l'éditeur
- Whereas before the text could be divided into chapters, segments,
- Owned are handable, they can be owned and transferred. They are property. Broadcast works can only be accessed according to delivery.
- Type 2 I’ll call ‘Component Works’ for now. This qualifies as a single text because it is delivered at a single-point-in-time, but it also qualifies as multi-channel because the modes have to be assembled by the reader.
- Hybrid Art facilitates a convergence of interaction systems that coalesce into one — a unique singular mode of interaction. Cross channel navigation occurs when the user has to navigate, to move physically and conceptually to another system of interaction. An ‘assembly’ has to take place therefore (in line with Apperley’s ‘assembler’) on behalf of the user, not the object. Kress and Van Leeuwen define ‘assembly’, from a semiotic perspective, as being the case when: ‘there is no longer a single, integrated original. Instead, a range of fragments is assembled into a whole’ (Kress and Van Leeuwen, 2001, 102). Hybrid Art has already been assembled, whereas cross media requires effort to bring all the components into a whole. The user may be sitting in the exactly the same spot, reading a book at their desk and then using the Internet, but they have to change their interaction (from turning pages to taping a keyboard) and the associated cognitive processes to ‘build’ the work.