Abstract This article investigates the potential of new media for the creation of immersive verbal-visual forms by using Reif Larsen’s Entrances & Exits (2016) as a case study. Designed for touchscreen devices such as tablets and mobile phones, this digital imagetext combines Google Street View and verbal passages to produce a narrative with which the reader is invited to engage in a haptic manner, going beyond the mode of reception typical of print literature. Having discussed the hybridity of Entrances & Exits and the peculiar nature of Google Street View as a continuous and navigable visualization of actual space, the article draws on multimodal and cognitive narrative theories to analyse the ways in which the geovisual and the verbal interanimate each other. It focuses in particular on immersion as an embodied, sensorial experience, which Larsen enhances by allowing the reader to explore the space of the storyworld from the internal perceptual perspective of the narrator–protagonist. Simultaneously, he self-reflexively discloses fissures and glitches in Google Street View and thus elicits a reflection on the representational capacity of digital geovisuality. The article concludes by suggesting that Entrances & Exits belongs to the vanguard of a new genre of digital imagetexts that integrate textuality, visuality, and haptics.

中文翻译：

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通过Google街景视图沉浸：Reif Larsen在“进出口”中故事世界的多模式表示

摘要本文以雷夫·拉森（Reif Larsen）的《出入口》（2016）为例，研究了新媒体在创造沉浸式视觉形式中的潜力。该数字图像文字专为平板电脑和手机等触摸屏设备而设计，结合了Google街景视图和言语段落，产生了一种叙事形式，邀请读者以触觉方式参与其中，这超出了印刷文献的接收方式。在讨论了入口和出口的混合性以及Google Street View作为连续的，可导航的实际空间可视化的独特性质之后，本文借鉴了多模态和认知叙事理论来分析地理视觉和言语彼此互动的方式。它特别着重于沉浸感，作为一种具体的感官体验，Larsen通过允许读者从叙述者-主角的内部感知角度探索故事世界的空间而得到增强。同时，他自我反思地揭示了Google街景视图中的裂缝和小故障，从而引发了对数字地理可视性表示能力的反思。本文的结论是建议“入口和出口”属于一种新的数字图像文本类型的先锋，该图像图像集合了文本性，视觉性和触觉性。