"There is no need to dwell on silly notions such as the digital media's alleged development of some form of non-linear narrative: narrative constatly loops back and branches out, condenses and proliferates uncontrollably, which is precisely why the 'meaning' of a story can never be fixed once and for all...
In the same vain, interactivity has always been a feature of any representational media from religious rituals to painting, novels and cinema. Indeed, pen and papaer constitue an 'interactive' mediun, and interactivity has been a significant eature from classical Chinese poetry to the call-and-response structures of gospel and jazz music, to Surrealism's 'exquisite corpses' and to just about all forms of commercial verbal and imaged discourses in which feedback machanisms have played a determining role for at least a century." p. 14
Rieser, Martin, and Andrea Zapp. The New Screen Media: Cinema/Art/Narrative (Bfi Film Classics (Paperback)). British Film Institute, 2002.
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This is a further discourse about the definition of interaction - which is redefined through cultural contextualization. In ways, we can say that our definition of interactivity goes alongside with the abandonment of a previous concept of interactivity. We no longer consider pen and paper to be a level of control and interaction, thus the picture emerges, then afterwards, the computer.
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