This is partly for historical reasons: in the 1970s and 1980s home computers had little or no graphics capabilities, and an adventure-game interface entirely based on text and imagination was a good way of sidestepping the problem. Oddly enough this line of thought has been particularly important in the field of hyperliterature. No longer will audience-members simply act as passive recipients of whatever the artist chooses to put in front of them: instead, through their interactivity, they will become co-creators. They seem to offer the opportunity to create artforms which are participative rather than dictatorial in structure, and thus to redefine the relationship between artist and audience. One of the most distinctive features of new media is its interactivity, and because computer games are inherently interactive they have always attracted a good deal of attention from new media theoreticians. This article is co-published by Furtherfield and The Hyperliterature Exchange.Ĭomputer games enjoy a special position in the canon of new media art. The Princess Murderer by Geniwate and Deena Larsen
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