With my own research in mind, I would like to focus this week's response on the unique challenges faced when dealing with dimensional storytelling environments. While the physical is mentioned specifically by Cadwalladr, and alluded to by Robertson and Travaglia, the majority of the authors remain focused on the theoretical and/or virtual. We are reminded by these two that data collection frequently serves the purpose of societal control. Even without the explicit guidance, it helps to set categories that define social relationships and these categories persist over centuries. This is significant in reinforcing the assertion that data are never neutral, and that processes of quantification and collection have social and policy implications. I found this perspective interesting in comparison to Nunes' discussion of error as a process that, while revealing a breakdown in a certain system of control, also helps to reveal some of the logic governing said system. It is interesting to bring these two into dialog, as from the perspective of Robertson and Travaglia, or more appropriately the 19th century social scientists concerned with large-scale data collection, the system in a sense can not conceive of itself in a state of error. This is distinct from producing bad policy based on a misinterpretation of data, and these systems of categorization are in a sense black boxed from the very beginning, unable to conceive of flaws in their own operational logic and even to attempt to define it.
I bring these up in reference to dimensional narrative environments because these seem to have a different perspective on error based on what level one chooses to address them. While in many cases the theatrical or cinematic nature of presentations implies an aversion to revealing and considering its own techniques (for fear of spoiling the illusion), an assessment of the logic of the universe is a critical action taken by visitors and in this way theming is taken by many to be quite participatory. We will return to this thought shortly, but before doing so we must pause to consider the fact that, from this perspective, error is actually something of a necessity in that it both points to the presence of some organizing principle and illuminates some element of its operation. When one considers that from a dramatic perspective, the disruption produced by error is necessary in the movement toward development and resolution, the layered nature of participation in such an environment becomes immediately clear. While error is necessary to advance a narrative, it must also be present in some way in order for visitors to be able to look past it to invest more fully in the experience. That is, a willing suspension of disbelief is often based on the perception that the environment is imperfect in its execution. Once this fact is confirmed, it can then be moved on from and a fuller embrace expected.
This interesting layering turns us to Scherffig, whose account of the complex interactions between user, machine and environment has some bearing on the discussion of themed spaces. For Scherffig, the impossibility of interactive design without a user has long been in tension with the drive to create machines with greater capabilities. A key moment here is the shift in the conception of computation as an act carried out by a human to that carried out by a machine. As MacCormick also points out, there has been a certain equivalence assumed (or, perhaps, manufactured) between computation as an organic and electromagnetic activity. While in this case it is used to define the horizon of programming capabilities, the fundamental inability to solve or even conceive of certain problems points us back to error in an intriguing way. While for Scherffig it is essential that operator, machine and environment collaborate, and for MacCormick limits to both human and machine potential are inherent, we can revisit the themed space for one final moment. Here, while the space can suggest an underlying logic (its theme), the visitor is ultimately responsible for completing the theme. This necessitates some awareness of constructed nature, which allows for full investment in the fiction. Therefore, some absolute horizon of believability must be presented in order that finally be crossed.
Homework