The Spatial Development of the Visual-Narrative from Prehistoric Cave Paintings to Computer Games

The definition of a ‘work of art’ is highly subjective: for some, it might be an Impressionist painting, for others an unkempt bed (cf. Tracy Emin’s bed, short-listed for the Turner prize in 1999), for still others it might be an interactive installation. Art embraces the not only the visual media but music, literature, dance and so forth: it is a complex phenomenon that both fascinates and perplexes. Since classical Greece scholars have been trying to understand how art ‘works’ and what art ‘means’ (Berleant, 1991:9). Moreover today, we are still no closer to that single unified definition; in fact, art is becoming more elusive and indeed is continually finding new ways of expression and new levels of communication. Yet, in many ways, this ambiguity is what adds to the fascination: the idea that art is constantly evolving generates much intrigue and excitement, especially as new technologies and social changes enhance and reshape our perceptual activities in the arts into new and different forms (Berleant, 1991, p.33). This chapter concerns visual-narrative, that is, the use of pictures to tell a story. A visual-narrative comprises the arrangement of images in a space in order to engage people in a story. From prehistoric cave painting to modern day computer games, the aim of this chapter is to explore the spatial development of the visual-narrative. In particular, we examine how the visual-narrative has been influenced by the treatment of space