Praising the cult of less by focussing on one-media experiences offline, online, on German TV, web, social and now media. A helpful approach to build a foundation for understanding transmedia and transmedia storytelling. This is the "Cissier" of Alexander Kluge. http://cismedia.naii.de/
Preface: Why Lausanne? I intended to learn, meet, greet new people from the Transmedia and Transmedia Storytelling industry.
Alexander Kluge's insight:
As my travels can be profession-wise I wanna share my travel to Lausanne, to the Transmedia Conference I was taking part in at the end of September 2013 at the ECAL (Ecole cantonale d'art de Lausanne): https://twitter.com/ecal_ch.
The video explains how modern stories of seemingly banal things (though fun and surprising) become viral hits and (however) important to people.
A whole chain reaction is explained which tells the path of a simple YouTube video of a girl singing is shared on Facebook which gets attention there, is re-mixed as animated GIF image and re-shared on Tumblr, is re-mixed again with multiple other versions of the image which also increseas (and leads) to the original video where it derived from.
Then another aspect is taken, e.g. a person is reading an article at the Rolling Stone magazine about a singer looking for that girl from the video and wants a song with her.
The story goes on with a shoe being put in the focus, as that singing girl from the video threw her shoe (a brandnew model) into the audience. This person shares the story on Twitter with a special hashtag #whosthatgirl which becomes a trending topic.
Then a tension is created as this famous artist (singer) wants to sing with that mysterious girl, and only with her. So, how do you know which is the mysterious girl? With that shoe, of course.
In the end a concert is held. Some guests came for her, some for the rumors, some for the brandnew shoes.
And because it's Cincerella 2.0, the missing shoe is put on her foot and fits.
This is of course very ideal. In your small-scoped transmedia storytelling idea you couldn't handle it that easily, neither could you control the stream of content flow so successfully.
You have to be lucky to land a hit like that when your capacities are small. And you could land a success. It pretty much depends on the originality, the fun, the surprising moment and the momentum which you should use. Prepare for 24/7 if you wanna have it hit the masses.
Now Cismedia: That's when Cismedia comes into play. Without all the noise, all the stress and all the social here and there, you can create your beautiful product centered and focussed around one medium, but extremely well produced and with beautiful sense of detail.
This is for the patient audience who can wait and doesn't need that rush of blood and excitement when being part of that new phenomen (probably claiming and fighting with in a "I found her first" attitude).
However: This new version of the story - the core of every transmedia storytelling - is very nice, indeed.
In the 1930s, broadcast radio introduced an entirely new form of storytelling; today, micro-blogging platforms like Twitter are changing the scene again.
Alexander Kluge's insight:
Andrew Fitzgerald talks about storytelling experiments in Twitter and eBooks. A short summary / outline:
His talk is called "A new (digital) frontier for story-telling". The examples he mentions are about flexible identity and blurring the lines fiction and reality.
At first, he starts with radio broadcasting in the 1930's with its own unique formats (live play and serialization of written fiction). Radio was in that time a new medium defining its own formats and consequently defining new stories.
He then explains his "bridge" to Twitter of which he mainly gives examples in the following manner.
1. example: Hugh Howey's "Wool":
· Author Hugh Howey published "Wool", a short story sold by Amazon (http://www.amazon.com/Wool-Hugh-Howey/dp/1476733953) which then grew into a whole 5-part series (because of audience's demand), with each part containing a longer story. Wool #5 was a 50.000 word novel in the end.
2. example: Jennifer Egan's Twitter short story "Black Box"
· written specifically with Twitter in mind
· 600 tweets in total, serialized on the New Yorker Fiction @NYerFiction Twitter account - playing with suspense (because of the waiting time which is due to the publication control by New Yorker)
· Twitter account @RealTimeWWII https://twitter.com/RealTimeWWII which is "Livetweeting the 2nd World War, as it happens on this date & time in 1941, & for 5 years to come."
So the talk was about experiments esp. on Twitter playing with flexible identities, multiple views, mixing non-fiction and fiction content, digital and real world. These are the building blocks and more will come.
In the 1st edition of THE ILLUMINATE you get very short stories about how to tackle and solve problems. Also when signed up you'll learn why solving problems is probably not the right term to use. Sign up http://illuminate.naii.de/.
Sharing your scoops to your social media accounts is a must to distribute your curated content. Not only will it drive traffic and leads through your content, but it will help show your expertise with your followers.
How to integrate my topics' content to my website?
Integrating your curated content to your website or blog will allow you to increase your website visitors’ engagement, boost SEO and acquire new visitors. By redirecting your social media traffic to your website, Scoop.it will also help you generate more qualified traffic and leads from your curation work.
Distributing your curated content through a newsletter is a great way to nurture and engage your email subscribers will developing your traffic and visibility.
Creating engaging newsletters with your curated content is really easy.