1981
Volume 17, Issue 1
  • ISSN: 1474-2756
  • E-ISSN: 2040-0578

Abstract

This article intends to explore how interactivity and new technologies promote new spectatorship performances and subsequently the interactor’s subjectivity. Through the analysis of three interactive documentaries, I propose and describe a taxonomy for addressing the felt experience of interacting in digital environments. Each selected documentary corresponds to a different mode of interaction and, therefore, engages the audience in a particular way: (hyperlink mode), (conversational mode) and (participative mode). Throughout the analysis, I consider the interactor and the digital object as two interrelated and dependent entities that influence and shape one another. I argue the objects of interaction the viewers by inducing bodily felt sensations and shaping their subjectivity. As so, the sensuous encounter between the interactor and the digital documentary provides a virtual gratification for the spectator’s performance. Delving into a phenomenological and post-phenomenological investigation, I focus my attention in the microperceptions, as structures of sensory perception in the bodily dimensions of experience, translated as senses. As fragmented, multilinear and dynamic forms, interactive documentaries provide the audience with the agency of manipulating and developing the narrative, while conversely engender in the interactors what I address as . I propose or adapt eight digitally disrupted and induced sensations, or senses of, for describing how interactive documentary affects users during the interaction performance: sense of control, sense of presence, sense of Self, sense of place, sense of belonging, sense of almightiness, sense of endlessness, sense of incompleteness.

Funding
This study was supported by the:
  • Portuguese Foundation for Science and Technology (Award SFRH/BD/93138/2013)
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2020-03-01
2022-11-26
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