Comunicar 39-ingles - Revista Comunicar

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142Comunicar, 39, XX, 20121, and contrasted with the model in Figure 2, whichincludes the new elements that the hypermedia communicationsystem integrates.The hypermedia interface can be located in thecenter of the cross in Figure 2 since it interconnectsand interexchanges all the communication elements:actors, expressions, representations and instruments.In the hypermedia communicative system, thepositions and functions of the communicators changeFigure 1. Elements of the Mass Media System of Communication(Source: Martín Serrano, 1982).Figure 2. Elements of the Hypermedia System of Communication.over time, when the communicative phenomenon isproduced through interactivity. The hypermedia interfaceallows this exchange of roles since it integratesmulti-sensorial expressions with different types of interactions.The actor looks forward to communicatinghis own representations through the interface, whether,he is communicating with an artificial intelligence(AI) system such as a one-player video game, or withother human actors, such as playing in a massive multiplayeronline game (MMOG). Afterwards, thereceptor actor decodes mentally and emotionally therepresentations contained in the multimedia expressionspresented through the interface. Then, the differentialmoment of the interactive communication iswhen the motivated actor decides to activate the multidirectionalsystem of communication, using his interactionsover the hypermedia interface, and coding hisown representations to communicate them to a newreceptor, a.k.a. reader-author, student-professor, author-reader,or the first sender. The most characteristicmoment is when the exchange of roles between actorsoccurs: the sender becomes the receptor and viceversa. If this main characteristic of the hypermedia systemis taken into account in the pedagogical developmentof new and interactive media materials, classesand courses, future generations will be more able toparticipate in their own learning processes, thus producingbetter objective results. In that sense, the hypermediasystem is ideal for the construction of culture,since it can be an open system for the exchange anddiscussion of ideas.The differential characteristic of hypermedia communicationis not only the exchange of functions betweenthe actors of communication as a result of thetechnological tools, but also the fusionof traditional communications mediaand digital computing technology(Manovich, 2001: 25), all that allowsfor a new system of communicationthat is interactive and multimedia. Anytype of expression is potentially able tobe used. That is why the multimediaaspect is the one that, with the interactivity,better defines the hypermediacommunication system.A diagram, based on the differenteducational and communicative experiencesanalyzed using hypermediainterfaces, has been created for describingthe elements and systems thatparticipate in the interactive communications.Presented in Figure 3, it synthesizesin a general, iconographic and schematic wayall the elements and systems that interact with and withinthe hypermedia communication system. It gives usa clear overview of the original aspects of the hypermediacommunication system and how it configures anew model of communication and system of interactions.2.3. Methods applied to analyze the interactivenarrativeThere is a new dramatic theory for interactivenarrative systems developed in several schemas byMateas (Wardrip-Fruin & Harrigan, 2004: 22), seeFigures 4 and 5. The immersion or the mediatoryidentification is generated in the hypermedia communicationthrough the interaction with the character orthrough the actions of the reader-author. All the followingexpressive elements can be interactional; it ispossible to do an expressive communicative interactionabout them. However, within the hypermediacommunication system, it is at the level of the characterand the actions that the avatar, the reader-author orplayer, materializes the expressive interaction, theimmersion or the mediatory identification. That is whythe expressive elements that appear in the interface are© ISSN: 1134-3478 • e-ISSN: 1988-3293• Pages 139-149
143Comunicar, 39, XX, 2012Figure 3. Elements and relationships in the hypermedia communication (Source: self•design in collaboration with www.reinicio.net).described as elements that serve the interaction andconstruction of the character or avatar. Shown below,in two schemas, are the differences between the dramatictheory by Aristotle and the updated schema purposedby Mateas.Mateas (Wardrip-Fruin & Harrigan, 2004: 22-23) gives an explanation of the traditional schema:Aristotle analyzes the works in hierarchical categories,in the center of the schema, corresponding to the differentparts of the creation. Those categories are relatedthrough formal and material causes. The materialcause of something is the material from which is created.The expressive material, from the perspective ofcommunications theory, is compounded by the multimediaexpressions and the characteristics of the hypermedianarrative. The formal cause is the abstract plan,the goal or the ideal through which something is directed.The motivational goal, the organized expressionsand the narrative structures are created to transmit aplot or theme, which is then associated with certainvalues. This is also done within interactive media sothat it becomes more successful. Kojler (2005: 272)underlines how the most popular Japanese video gameshave used cinematographic techniques to attract inter -action. The video game Donkey Kong from Miya motowas the first one to introduce a narrative of start/ middle/endin a video game and the narrative structure hasbeen very influential over other games: «from theElectronic Gaming Monthly’s 2001 list from the 100better video games, 78 had elements of narrative linesand another eight recognized at least clear characters».In the new model of the interactive drama, Mateas(Wardrip-Fruin & Harrigan, 2004: 22-23) explains«the player has been added to the model as a characterwho can choose his own actions. This has a consequence».The player, reader-author, organizes his interactionplan and directs it through the character category.The player collaborates, or can collaborate, in theconstruction of the proper narrative forms to communicatea plot or theme, with their correspondingvalues, coming from both the author and the player ofFigure 4. Classic schema of Aristotle’s theory for creatingdramatic narratives.© ISSN: 1134-3478 • e-ISSN: 1988-3293• Pages 139-149
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