{"id":936,"date":"2013-05-29T20:48:53","date_gmt":"2013-05-29T20:48:53","guid":{"rendered":"http:\/\/memetechnology.org\/?p=2719"},"modified":"2013-05-29T20:48:53","modified_gmt":"2013-05-29T20:48:53","slug":"the-narrative-paradox","status":"publish","type":"post","link":"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/2013\/05\/29\/the-narrative-paradox\/","title":{"rendered":"The Narrative Paradox"},"content":{"rendered":"

I’ve had a hectic couple of weeks, which has left me with some catching up to do here. But its been an exciting time too, with lots of connections being made and, slowly but surely, a firmer idea of how I might approach this PhD beginning to appear.<\/p>\n

Let me start at the beginning though, with a meeting two weeks ago with\u00a0colleagues\u00a0from the university’s English and Computing departments, as well as from\u00a0 Kings College London and the University of Greenwich. We all of us were coming from different directions but arriving at somewhere approximate to the same place. I probably shouldn’t say too much about it now, after all we’ve got to find a lot of money first.<\/p>\n

One thing we talked about though, was the idea of Adaptive Hypertext. This was a new term to me, and may prove to be a useful one. If I understand my colleagues right, it’s a bit like the principle of sculptural hypertext, in that all the content is available, but elements are filtered away based on user preferences, location or previous behaviour. What\u00a0differentiates\u00a0it (I think) from plan old sculptural hypertext is that its more dynamic, the sculpting is done on the fly, as the user explores the narrative. Clearly it’s something I need to understand better.<\/p>\n

The thing I was most excited by though, was when Charlie Hargood put into words something I’ve been struggling with internally. The thing is, the more interactive a story is, the less good it is. Charlie called this the Narrative Paradox. I hadn’t heard of this term before, so I’ve been searching for its origin. The earliest reference to the term I’ve found so far comes from Ruth Aylett’s\u00a02000 paper<\/a>, Emergent Narrative, Social Immersion and Storification<\/q><\/em>. She says “The well-known \u2018narrative paradox\u2019 of VEs is how to reconcile the needs of the user who is now potentially a participant rather than a spectator with the idea of narrative coherence \u2014 that for an experience to count as a story it must have some kind of satisfying structure.” Those quotes she around puts around ‘narrative paradox’ don’t come with an endnote, so though she says its “well known” I can’t find an earlier citation. Aylett may, therefore, have coined the term. If so, she deserves some credit, for her definition is a useful one.<\/p>\n

Another<\/a> of Aylett’s papers, co-written with Sandy Louchart is called Solving the narrative paradox in [Virtual Environments] – lessons from [Role Playing Games]. <\/em>It got me very excited, not just because I’ve been playing RPGs since 1979, but also because I thought\u00a0they might already have ‘solved the paradox’, but sadly they discover that “it would be much more difficult to build a computational system able to assess and act on user’s satisfaction levels.”<\/p>\n

Engaging RPG experiences occur as a result of conversation, mediated by feedback between participants, just as the best interpretation occurs when people talk to each other. Until cheap open-source computer programmes consistently pass “the Turing test” we haven’t got a hope of building a system that replicates that process.<\/p>\n

But I’m not that ambitious. I’m not looking for an emergent narrative<\/em> created on the fly for the user, but rather an adaptive narrative, handcrafted in advance, with a satisfying structure, but which can adapt to the user’s needs and interests. Charlie’s own paper, The Narrative Braid<\/a><\/em>, is closer to what I’m looking for, and his braid\u00a0metaphor\u00a0is useful not just for documentaries, but also for, maybe especially<\/em> for, cultural heritage interpretation.<\/p>\n
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I’ve had a hectic couple of weeks, which has left me with some catching up to do here. But its been an exciting time too, with lots of connections being made and, slowly but surely, a firmer idea of how … Continue reading →<\/span><\/a>\"\"<\/p>\n","protected":false},"author":337,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[412],"class_list":["post-936","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-hypertext","column","threecol"],"yoast_head":"\nThe Narrative Paradox - Archaeology Blogs<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/2013\/05\/29\/the-narrative-paradox\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Narrative Paradox - Archaeology Blogs\" \/>\n<meta property=\"og:description\" content=\"I’ve had a hectic couple of weeks, which has left me with some catching up to do here. But its been an exciting time too, with lots of connections being made and, slowly but surely, a firmer idea of how … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"https:\/\/generic.wordpress.soton.ac.uk\/archaeology\/2013\/05\/29\/the-narrative-paradox\/\" \/>\n<meta property=\"og:site_name\" content=\"Archaeology Blogs\" \/>\n<meta property=\"article:published_time\" content=\"2013-05-29T20:48:53+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/feeds.wordpress.com\/1.0\/comments\/memetechnology.wordpress.com\/2719\/\" \/>\n<meta name=\"author\" content=\"Matthew Tyler-Jones\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Matthew Tyler-Jones\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2013\\\/05\\\/29\\\/the-narrative-paradox\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2013\\\/05\\\/29\\\/the-narrative-paradox\\\/\"},\"author\":{\"name\":\"Matthew Tyler-Jones\",\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/#\\\/schema\\\/person\\\/a61d3a83f159c463727cd087c1ce643e\"},\"headline\":\"The Narrative Paradox\",\"datePublished\":\"2013-05-29T20:48:53+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2013\\\/05\\\/29\\\/the-narrative-paradox\\\/\"},\"wordCount\":609,\"image\":{\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2013\\\/05\\\/29\\\/the-narrative-paradox\\\/#primaryimage\"},\"thumbnailUrl\":\"http:\\\/\\\/feeds.wordpress.com\\\/1.0\\\/comments\\\/memetechnology.wordpress.com\\\/2719\\\/\",\"keywords\":[\"HyperText\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2013\\\/05\\\/29\\\/the-narrative-paradox\\\/\",\"url\":\"https:\\\/\\\/generic.wordpress.soton.ac.uk\\\/archaeology\\\/2013\\\/05\\\/29\\\/the-narrative-paradox\\\/\",\"name\":\"The Narrative Paradox - 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In my free time, I volunteered as a costumed interpreter at Kentwell Hall and, with re-enactment societies, at various medieval sites around the UK and France. When, one evening, a few of us said \u201cwe could make a business out of this\u201d I left my job at the bank to go to college, first to get an Art Foundation and then to Manchester Polytechnic to join an innovative course called Design for Communications Media. I specialised in Educational Media Design, with the intention of applying what I was learning to cultural heritage. During my vacations and upon graduation I worked for the nascent company my friends had started, Past Pleasures, creating immersive living history festivals at Lancaster and Tunbridge Wells, as well as projects including: an exhibition for the centenary of the Commonwealth Institute; a design for a metafictional Sherlock Holmes exhibition in Croydon; and, a game that combined real-time investment advice from 300 year-old characters at the Bank of England Museum with a digital simulation, tracking the players\u2019 investment portfolio from the founding of the bank to its tercentenary. In 1996 I helped found JMD&Co, and for two years I also lectured on Heritage Tourism and Visitor Management and Interpretation modules for a Portsmouth University validated HND\\\/degree course at Farnborough Technical College. 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During my vacations and upon graduation I worked for the nascent company my friends had started, Past Pleasures, creating immersive living history festivals at Lancaster and Tunbridge Wells, as well as projects including: an exhibition for the centenary of the Commonwealth Institute; a design for a metafictional Sherlock Holmes exhibition in Croydon; and, a game that combined real-time investment advice from 300 year-old characters at the Bank of England Museum with a digital simulation, tracking the players\u2019 investment portfolio from the founding of the bank to its tercentenary. In 1996 I helped found JMD&Co, and for two years I also lectured on Heritage Tourism and Visitor Management and Interpretation modules for a Portsmouth University validated HND\/degree course at Farnborough Technical College. Subsequently, I enrolled in the new Distance Learning delivered Masters\u2019 degree in Museum Studies at Leicester University, where I became interested in the social use of space, particularly Bill Hillier\u2019s \u201cspace syntax,\u201d and the increasing futility of cultural heritage sites trying to tell doggedly linear stories in three-dimensional spaces. Although my dissertation explored models for mapping interpretation, and particularly learning styles, onto spaces, a satisfactory reconciliation of linear story and three-dimensional space eluded me. After graduation, I decided my time in the \u201csmall business\u201d end of cultural heritage was over for a while, and I left JMD&Co to join a cultural institution, the National Trust, as a Regional Community, Learning and Volunteering Manager. 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