This paper introduces the interactive art installation Alan01, which wakes up the 1952 criminally convicted Alan Turing as a piece of code within the art work - thus fulfilling Turing's own vision of preserving human consciousness in a computer.

This paper describes the concepts behind and implementation of the multimedia art work Alan01 / AlanOnline, which wakes up the 1952 criminally convicted Alan Turing as a piece of code within the art work- thus fulfilling Turing's own vision of preserving human consciousness in a computer. The work's context is described within the development of associative storytelling structures built up by interactive user feedback via an image and video retrieval system. The input to the retrieval system is generated by Alan01 / AlanOnline via their respective sketch interfaces, the output of the retrieval system being fed back to Alan01 / AlanOnline for further processing and presentation to the user within the context of the overall artistic experience. This paper, in addition to presenting the productions and image retrieval system, also presents the installation and online production user reception and some of the issues and observations made during the development of the systems. Categories and Subject Descriptors

This article is motivated by the question whether television should do more than simply offer interactive services alongside (and separately from) traditional linear programs, in the context of its dominance being seriously challenged and threatened by interactive forms of screen media entertainment. It suggests: yes. Interactive narrativity , that is, the ability to interact with (and influence) stories whilst they are being told, represents one clear development path for interactive television. The capabilities of computing technology are ripe for exploring this new form of storytelling, from creation to commercial distribution. The article starts by looking at the relationship between narrativity and interactivity in the current context of screen media, and identifies clear signs of interest from certain European public broadcasters in interactive TV narratives. It then presents in detail four recent experimental interactive TV productions in the genres of drama, news, and documentary, developed in collaboration with public broadcasters, which illustrate the potential and richness of this new form of storytelling, but also highlight new technological capabilities necessary for such productions. A number of essential technological requirements are then discussed in more detail in the final part. The article suggests that the ShapeShifting Media Technology, employed in the implementation of the four productions, has made significant advances both at the technological and the creative ends in supporting the development of interactive TV narrativity, but, however, that further developments are required before being able to answer questions such as “Would end users want such a form of screen media entertainment?” and “Would it be effective for both end users and producers?”