The possibility of story-telling through media relies on how the media are used for expressing the stories and how it is constrained. According to Ritchie (2013, p.65), “mobile locative narratives only come into being through the decisions and efforts of audiences.” It means that audiences need to have the navigation in both physical and digital spaces to determine the factors related to the story. By this way they can achieve understanding and can even co-author a story. This requires significant effort. Therefore, to bring about these interactions, it is a duty of mobile locative narratives to give the audiences the medium for seeking information and narrative bridges. In this sense, the transfer between physical and digital can be considered the strain between these kinds of narratives. They provide descriptions and explanations to each other, which means that the location or objects that are mediated digitally are constricted and defined through “an implicit or explicit act of chronologically or causally creating a sequence of events” (Ritchie, 2013, p.65). In conclusion, there is a control over the chronological possibility of constructed and digital settings if one narrative or varied narratives are enforced on the other.
Hochman and Manovich (2013) has conducted a research to examine the living experience of people who use media sharing software and the way visual social media demonstrate the lives of a community or each person. It also sheds light on the elements that this data cannot resonate. The results reveal the conceptual cultural change in how people recognize and use the cultural information on the Internet. Lately, cultural software devices, in our case like actionbound (in this article it was talking about Instagram), do not put much emphasis on arranging information into specific types or structures. Alternately, they allow users to discover and explore the data in both spatial and temporal dimension. For instance, social networking sites like actionbound (or Instagram as mentioned in the article) enable users to find images by utilizing hashtags, sites, or by following other users, instead of just use hierarchical subject genres.
- Hochman, N. & Manovich, L., 2013. Zooming into an Instagram City: Reading the local through social media. First Monday, 18(7). Available at: http://firstmonday.org/ojs/in- dex.php/fm/article/view/4711
- Ritchie, J. 2014. The Affordances and Contraints of Mobile Locative Narratives. In The Mo- bile Story. Narrative Practices with Locative Technologies, ed. J. Farman, 53–67. Oxon: Routledge.