Embodiment of Stories in Hybrid Environments

Philology and criticism usually apply to literary works that have been written and published or documented literary systems as actual genres. That is, literary studies typically focus on past or present state of the art but they hardly offer predictions, prefiguring forms that will play a role into the future development of cultural landscapes. Making a remarkable exception in respect to the norm, the present contribution aims to forecast potential development in storytelling based on locative media. That is, as part of a more general inquiry on the Ecology of the Novel and Hybrid Ecologies, it will investigate potential literary applications based on Global Positioning System (GPS), Geographic Information System (GIS) or similar geotagging standards.

People living in European cities are very familiar with tourists looking puzzled while trying to figure out why they spent a couple of paychecks to find themselves speechless in front of a pile of old stones or a very long marble sculpted pillar, say the Colosseo or the Colonna Traiana in Roma. By labeling perceived items with annotations, guidebooks and tour guides aim to orientate, to locate tourists by regulating their sensory experience of the landscape. In a looser way, the contextual reading of novels taking place in the very same place a traveler is visiting complements the sensory experience with narrative reference. Indeed, descriptions of urban or natural landscapes define potential ‘presences’ triggering a variable amount of action potential. So, bidirectional flow connecting narrative references and actual perception define an hybrid ecology, making it possible to inhabit natural landscapes by means of stories and, conversely, causing environmental features to trigger resonance of narrative references. That’s why the interplay of narrative contents and environmental experiences supported by locative technologies potentially allows a dramatic shift in the relationship between people and the environment through narratives.

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In a few years narrative artists and storytellers’ communities will be likely writing or taping stories to be broadcasted by locative media mining 2.0 websites for contents delivered by Location-based media on GPS or GIS enabled portable wireless devices. Textual narratives as podcasted stories will will invade laptop computers and mobile phones, providing readers and listeners with pertinent references or analogical interferences aimed to enriching natural environments. Presences triggered by the mirror matching of references entailed by symbolically encoded narratives, both in audio and written text formats, will invade urban and rural environments, forests and deserts, islands and hills, mountains and beaches, enhance the sensory experience of perceived landscapes. So, questions arise. What formats may be forecasted as the standards ones when it will come to the implementation of socially shared narrative art with locative tagging? Will these new narrative standards reshape interactions between subjects and environments?

While providing a permanently operative level of interaction between narrative contents and natural environments, geotagged stories will likely play a crucial role in a very fragmented and user-oriented literary system. Still, the rise of socially-networked locative narratives will hardly doom the novel to marginality, not to mention extinction. As an unifying, very generalist mainstream narrative point of view establishing the very parameters of how so-called ‘reality’ is supposed to work, the novel will outlast the next technological revolution as it did with previous ones. Potential evolution of novels may imply geocoded editions of both classic ones from the past and brand new ones intentionally developed so as to fit and be implemented into locative media. Such a process may be supported by further locatively implemented releases of wireless digital readers such as the Sony PRS-500 or Amazon’s Kindle.

However, new plastic forms will very likely arise. For instance, locative Keitai Novels, or different systems, eventually exerting collaborative web-logging tools as comments and annotation systems alongside locative technologies and defining new borders for narrative art. Certainly, web 2.0 communities of narrative artists may play with landscapes, tagging them with stories providing peculiar, literary affordances of geocoded environmental features. Being part of a community may imply writing, annotating and commenting on locatively tagged stories, that is sharing a peculiar perception of natural environments or cityscapes marked by narrative tags. In addition, being the node of a given network may entail the embracing and the adoption of peculiar locative tags to be applied to shared narratives. Both the sensory assessment of places and the reading of stories will very likely be part of an integrated, plastic, ever changing immersive experience, redefining the whole concept of storytelling and human presence in the environment at the same time. Policy-makers would eventually be required to avoid that the array of disposable geocoded stories may cause “narrative pollution”, infesting as undesired spam both the individual and collective ecological interplay of people and landscapes.

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Aknowledgments

The full paper on «Embodiment of Stories in Hybrid Environments: Narrative Art in the Age of Social Networking and Locative Media», a first draft of a potential contribution to a collection of studies about Hybrid Ecologies, has been originally presented at KERG in Tallinna Ülikool, Tallinn, Estonia. Some of the topics have been discussed during the Mobile City workshops (Rotterdam, NAI, Feb. 27-28 2008).

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4 responses to “Embodiment of Stories in Hybrid Environments

  1. If you read Italian and you are interested in the subject, check this Anobii 3d about novels (and music) as inspiration for traveling…

    http://www.anobii.com/anobi/forum_thread.php?tid=2579&pid=160&lid=#new_thread

    If you know anything similar in any other language, please let me know…

  2. What is so sacred about the idea of a novel that we should care whether it survives or not? Is not a novel what we define it as at a point in time? Of course the definition is institutional…a network with the past, but I think that aspect of language pales in this day.

    Great stuff! Enjoy reading it.

    Ryan Lanham

  3. Yes the survival of the novel as a genre is amazing, since the format outlasted plenty of technological revolutions, from papyrus to parchment to paper, from manuscript writing to print, and very likely from print to whatever will follow (kindle amazon reader for instance). The point is the novel is not a text written into a book, that’s just the way perceptual events, actions and related interoceptive ramifications as emotions and feelings are symbolically encoded. That’s why technological revolutions hardly affect it as a format or a literary genre. Indeed, what matters is what readers actually embody while reading a novel. Very likely, the novel as a narrative format is a ‘fit enough’ one when it comes to the consistent embodiment of narrative events readers exert in every day life in order to personal experiences be making sense to them.

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