Manovich identifies the loop as an irreducible component of moving image media,

regardless of platform or genre, and speculates on the primitive nature of

interactivity in relation to “Spatial Montage”.

In Convergence Zapp investigates the potential of distributed web narratives as a

platform for an audience’s direct collaboration in fiction development. She discusses
the relation between the body and its representation and identity in online visual and
theatrical environments. Wyver and Butterworth examine their recent experiments
building 3D worlds and avatars in ‘Inhabited TV’ (immersive interactive TV). From this
practical background they draw conclusions on possible future transformations of mass
broadcast media. The success and failure of the cinematic interface transformed
through interactivity is narrated by Hales.

In Beyond Narrative Ken Feingold relates narrative to an embodied experiential

model, and questions the validity of goal-driven modes of interaction with their pre-
determined meanings. He argues for sufficient space, complexity and open-endedness
in interactive works, so that they gain richness by varying contexts of display. The
audience’s reception of accidental changes in a work can assign new meaning to the
artefact. Dovey addresses the problematic of hypertext theory in dealing with the
cinematic, positing a spatial analysis of narrative as a possible solution. Rieser
investigates alternative strategies for navigation, orientation, and design using the
fluidity of language as compensation for the breaks in diegetic coherence through
interaction.