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Tracking Transmedia
Tracking Transmedia, Crossmedia, Interactive & Digital Storytelling
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Lance Weiler on the "Storyworld" - Filmmaker Magazine - Winter 2009

Lance Weiler on the "Storyworld" - Filmmaker Magazine - Winter 2009 | Tracking Transmedia | Scoop.it

...A New Approach

 

The way I write has fundamentally changed. I used to outline or write a treatment — maybe create backstory or generate character notes. From there I'd move into constructing a three-act screenplay. Since I tend to work in the horror genre, I'd often find myself adhering to scripting conventions — scare in the first five pages, introduce all my main characters before page 15 — not to mention a host of other trappings that dictated the way in which I told a story. Convention dictated that authorship was within my hands and the more thought-out and developed the script was, the less likely it would be subject to outside interference. Also, not to mention, the intended experience from an audience perspective was a passive one. They would sit, watch and hopefully enjoy and then maybe tell someone else about it.

 

This is no longer the case. We are now in a time of open creativity when amateurs and professionals are collaborating around media in ways similar to how those in the open-source software movement work together to develop, share and maintain software code. As this emerging participatory culture becomes more common within media it will forever change the relationship between creator and audience. The audience will become collaborators and, ironically, could replace distributors, especially if filmmakers can efficiently cross-pollinate the audiences that they build with other filmmakers, musicians, game designers and/or software developers.

 

The Concept Of Story Architecture

 

What was once a single-format design for me is changing. I now consider my process akin to architecture, where storytelling, technology, gaming, delivery and experience design work together to serve the stories I wish to tell.

 

The process starts with the creation of a storyworld bible, a document that provides an overview of the experience that I wish to create. It shows the relationships between storylines, characters, locations and interactions online and in the real world. Media consumption habits of the audience are considered and there is focus placed on how to build story bridges that provide seamless flow across devices and screens.......

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N ● N C H Δ L Δ N C Ξ (love this company & their work: a Situational Design Agency)

A hybrid arts consultancy with an expertise in Situational Design.

 

Our mission is to provoke discovery through visceral experience and pervasive play. We achieve this by means of interactive narrative, game design, augmented reality, automated environments, event production, installation art, spatial navigation and cultural curation. Our work has been covered by the New York Times, Wall Street Journal, WIRED, Bomb, and Juxtapose magazines, and is the subject of a new documentary called "The Institute". We have also produced creative work for clients such as Greenpeace, the Oakland International Airport, and The Exploratorium. We have made speaker presentations at GDC, TedX, Pecha Kucha, Picnic, Storyworld, and ARG-Fest. We have proudly produced over 100 special events in public space without a single incident of injury, arrest, or property damage. We work with a consortium of talented artists, writers, performers and producers who help us bring exquisite quality to every production. We are happy to gig independently or collaborate with your team. For more info take a look at the side hatch, a company blog. Thanks for visiting.

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Pervasive Games - 2009

This was a presentation and in-class discussion for my Pervasive Computing course at UNC Charlotte...
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Building Interactive Stories Miniworkshop

A mini workshop I did about interactive storytelling in september 2011 as part of the Photostories event at Noorderlicht photo festival in the Netherlands.
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What Executives Don't Understand About Big Data

What Executives Don't Understand About Big Data | Tracking Transmedia | Scoop.it
More data doesn't lead to better results — unless you know what to do with it.

 

How much more profitable would your business be if you had, for free, access to 100 times more data about your customers? That's the question I posed to the attendees of a recent big data workshop in London, all of them senior executives. But not a single executive in this IT-savvy crowd would hazard a guess. One of the CEOs actually declared that the surge of new data might even lead to losses because his firm's management and business processes couldn't cost-effectively manage it.

 

Big data doesn't inherently lead to better results.

 

Although big data already is — and will continue to be — a relentless driver of revolutionary business change (just ask Jeff Bezos, Larry Page or Reid Hoffman), too many organizations don't quite grasp that being "big data-driven" requires more qualified human judgment than cloud-enabled machine learning. Web 2.0 juggernauts like Google, Amazon and LinkedIn have the inborn advantage of being built around both big data architectures and cultures. Their future success is contingent upon becoming disproportionately more valuable as more people use them. Big data is both enabler and byproduct of "network effects." The algorithms that make these companies run need big data to survive and thrive. Ambitious Algorithms love Big Data and vice versa....

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YouTube star turns music videos into multimedia guessing game (Wired UK)

YouTube star turns music videos into multimedia guessing game (Wired UK) | Tracking Transmedia | Scoop.it
Jonna Lee anonymously conquered YouTube, but her new tracks reveal all...

 

iamamiwhoami is a slice of synth-pop built on a multimedia guessing game. The project was launched in December 2009 as a YouTube channel where an anonymous artist (now known to be Swedish singer-songwriter Jonna Lee, right, from Linköping) posted short, esoteric music videos. In September this year she finally goes mainstream -- her first official album Kin will play out as a short film with nine connected tracks.

 

Early iamamiwhoami videos contained a numerical code in their titles (13.1.14.4.18.1.7.15.18.1.1110 spells "mandragora jk") and featured Lee, who kept her identity secret until her twelfth video, t, in June 2010. "The name of the project was a reflection of my new identity," says the 30-year-old. "Before iamamiwhoami, I was a very different musician -- my songs were simpler, quieter. And I didn't use words."...

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Zadie Smith’s 10 Rules of Writing

Zadie Smith’s 10 Rules of Writing | Tracking Transmedia | Scoop.it
Curating eclectic interestingness from culture's collective brain...

 

1. When still a child, make sure you read a lot of books. Spend more time doing this than anything else.


2. When an adult, try to read your own work as a stranger would read it, or even better, as an enemy would.


3. Don’t romanticise your ‘vocation’. You can either write good sentences or you can’t. There is no ‘writer’s lifestyle’. All that matters is what you leave on the page....

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FANTASTIC! These 14 Harry Potter Minecraft Builds Will Blow You Away - IGN

FANTASTIC! These 14 Harry Potter Minecraft Builds Will Blow You Away - IGN | Tracking Transmedia | Scoop.it
From The Burrow, to Hogsmeade, to Hogwarts itself, Minecraft players have created plenty of awe-inspiring Harry Potter worlds.

 

One player faithfully recreated the Weasley’s eccentric house The Burrow. There’s even a practice Quidditch field in the back....

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The Arrival: graphic introduction to steampunk ARG

The Arrival: graphic introduction to steampunk ARG | Tracking Transmedia | Scoop.it

The Arrival is the opening salvo in a multi-year, multimedia steampunk alternate reality based in London. It tells the story of how restless mechanical servants were brought to Victorian England, servants who had to move always to recharge their batteries (this alternate world has a different sort of entropy than ours, I gather), and then broke free of their constraints with the help of human masters.

 

It's a nicely told, rather short introduction to a very rich world that is unfolding at Clockwork Watch. The organisers have put on some reportedly extraordinary live events in London, and there seems to be a lot more to come...

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Wine Glass Machines Are Perfect For The Bored Drunk

Wine Glass Machines Are Perfect For The Bored Drunk | Tracking Transmedia | Scoop.it
Intricate engineering in wine glasses. These wine glass machines tick away with ultimate precision. Impressive miniature engineering.
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Interactive AI Artwork by Aether & Hemera - Dexigner

Interactive AI Artwork by Aether & Hemera - Dexigner | Tracking Transmedia | Scoop.it
"Which is your brass's voice?" is an art installation employing Artificial Intelligence (AI) and digital media to create an engaging multi-sensory experience for the audience.

 

Created by Aether & Hemera for the International Brass Festival 2012 in Durham, the installation invites people to discover their brass voice by speaking, singing, shouting or whispering into microphones. Each of the five microphones represents a specific brass instrument: Trumpet, Trombone, Tuba, Muted Trumpet and French. Horn sounds are generated capturing the individual nuances of volume, pitch and the intonation of people's voices...

 

Read more: http://www.dexigner.com/news/25608#ixzz26mbbiOW1

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Becoming Bi-Cultural Makes You More Creative

Becoming Bi-Cultural Makes You More Creative | Tracking Transmedia | Scoop.it
The value of living in more than one culture.

 

Innovation provides a key path to business success. In the 1970s, it may have seemed inconceivable that computers would some day become just another commodity. Just 40 years later, most manufacturers of computers are competing to produce the fastest cheapest machines, and so they operate on small profit margins.


The exception to this trend comes from innovative companies like Apple. Companies that bring out new and exciting projects capture people’s imaginations and ultimately people are willing to pay a premium for their new products.

 

Because of the key role of innovation in generating new business, companies are on the lookout for people who are likely to bring a creative spirit to their work. A paper by Carmit Tadmor, Adam Galinsky, and William Maddux in the September, 2012 issue of the Journal of Personality and Social Psychology explores how living abroad can influence people’s creativity. This research expands on a previous paper involving some of these researchers.

 

When people live abroad for an extended period of time, there are three possibilities for their relationship to their host culture. One possibility is that they will retain their original cultural identity and keep themselves separate from their host culture. A second possibility is that they will assimilate to the host culture and lose their original cultural identity. A third possibility is that they will become bicultural, and will retain a strong tie both to their original culture and to the host culture....

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Pervasive Media: Practice, Value, Culture Panel | ISEA2011 Istanbul

Gosh darn I wish I'd been there!

 

Pervasive media is a new and developing field; commissioners, brands, clients, funding bodies often have difficulty grasping its potential. Very few media professionals, let alone members of the public, understand what Pervasive Media is, or could become. We are at a new frontier.

 

New, pervasive, ubiquitous and mobile technologies promise us an ever more connected world and the possibility to access ever more detailed information about context. Although these promises contain drastic changes to media and technology, they don’t engage with the necessary changes to the practices of media production, distribution, technology creation and the commercial and practical realities that could make these promises a reality. These will be drastically game changing; creating new business possibilities, whilst making others obsolete. These promises, and changes, will be critically addressed during this panel.

 

Pervasive experiences also require a new, and significantly more diverse, set of skills to implement. This includes a wide variety of media production, technical skills and business acumen. However at this period of development practitioners from widely varying fields in art, design, and technology find little time, or common ground, to reflect on their practice. This session will draw on results from workshops and events where the panellists have provided space for reflection and discussion amongst practitioners in this emergent field....

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Pervasive Gaming and Best Practices at StoryWorld | THE LAST WEBLOG

Pervasive Gaming and Best Practices at StoryWorld | THE LAST WEBLOG | Tracking Transmedia | Scoop.it

...The panel addressed techniques and approaches for creating pervasive games, and was moderated by Christy Dena of Universe Creation 101 (among other things), and featured three panelists:

Jeff Hull, who runs Nonchalance, a studio making pervasive games
Hazel Grian, a multi-disciplinary artist (no other word for it, see below), who now works for Aardman Animation


Constance Fleuriot, of the Digital Cultures Research Centre in the UK


Some of the recommendations and experience that came out of the panel:

 

If you trust people to enter into the world you’ve created for them, they absolutely know what to do.
Design to accommodate different levels of engagement.
You’re not just working in one medium, you’re thinking pretty much 360 every minute.
You have to know what the space is like at all times of day, and days of the week.
There’s no point in feeling you should do something in a traditional way.
You want to be on the ground and scout out those spaces, see what opportunities arise.
You have to be able to improvise as a creator and as someone running these things.
We’re like Situationalists 2.0, we just have better tools now. — Jeff Hull...

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SocialSamba's Aaron Williams on Hashtag Killer, working with USA, and that interactive Emmy - Deep Media

SocialSamba's Aaron Williams on Hashtag Killer, working with USA, and that interactive Emmy - Deep Media | Tracking Transmedia | Scoop.it

For all the buzz this year about social TV, it's mainly been about connecting fans with fans—which is nice as far as it goes, but that's not terribly far. What if you could jump the fiction-reality barrier and connect fans with characters? Then it might start to get interesting.

That's what Aaron Williams and Matthew Shilts figured when they started SocialSamba, a not-quite-two-year-old com­pany that works with television net­works and producers to bridge the gap, or at least blur it a bit. SocialSamba has partnered with MTV, USA Network, War­ner Bros., and others to enable fans to connect with TV and movie characters through scripted interactions.

 

After experimenting with a "tweetcast" for USA's Covert Affairs, SocialSamba found a winner in Hashtag Killer. Crafted for USA's hit show Psych and launched at the start of the show's sixth season last fall, it's a seven-week game that lets you work with Gus and his psychic partner Shawn to track down a serial killer. Last spring, USA's senior VP of digital, Jesse Redniss, reported that Hashtag Killer had engaged some 400,000 players (roughly one-ninth of Psych's total viewership) and created more than 80 million impressions on Facebook and Twitter.

 

Williams, a former SAP executive who lives in Silicon Valley, and Shilts, his Minneapolis-based CTO, were up for an Emmy for original interactive television programming for Hashtag Killer. (The Emmy, announced last Saturday with the other creative arts awards, went to Fourth Wall Studios for Dirty Work, an original series for Rides TV.) Earlier this week I put a few questions to Aaron by email. Anything more you'd like to know? Ask and I'll follow up....

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Why Kids (and Parents) Will Love Kinect Sesame Street TV

Why Kids (and Parents) Will Love Kinect Sesame Street TV | Tracking Transmedia | Scoop.it
Countless childhood dreams are fulfilled by Kinect Sesame Street TV, the Xbox game which lets children (of all ages) play witht Elmo, Cookie Monster, and the rest of the Sesame Street gang. Mashable's Lifestyle Editor Andrea Smith has more.

 

Sesame Workshop has teamed up with Microsoft to create Kinect Sesame Street TV — one of the most innovative children’s video games we’ve seen in a while. With the help of the Microsoft Kinect sensor, it puts kids (and adults) into the game, letting them engage and interact with their favorite characters.

 

We were immediately impressed with the way the game offers simple instructions to help kids set up their position in front of the Kinect. Cooper, a new furry character on Sesame Street, created digitally just for this season, introduces himself and guides the user as they place themselves in front of a mirror. This is really helpful because kids have a natural tendency to creep closer to the TV as they play and talk to the characters.

 

And kids will play with them! There are eight interactive games that take kids through everything you would expect from a Sesame Street title. Elmo offers instructions on how to play with him and Paul Ball, another new character....

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Vimeo 'tip jar' lets users pay creators for content (Wired UK)

Vimeo 'tip jar' lets users pay creators for content (Wired UK) | Tracking Transmedia | Scoop.it
The battle to monetise user generated content took another step forward today with the launch by Vimeo of a new “tip jar” feature. Available to anyone with a paid Vimeo account, it allows content creators to activate a button that will appear next to every video and allow viewers to donate anywhere from one to five hundred dollars by Credit Card or Paypal.

 

It appears all payments are deposited in a verified Paypal account specified by the creator, another coup that shows how the payments company is implanting itself in more and more places as a universal digital wallet. For the service, Vimeo subtracts a 15 percent fee and emphasises that the payment may take up to 30 days to arrive in the final account. Not necessarily the world's best service then but fairly standard for the industry.

 

Flattr, a Swedish project created by ThePirateBay co-founder Peter Sunde, launched in March 2010 to provide a similar service -- and indeed actually supports Vimeo alongside a broad range of sites from Twitter to Wikileaks, taking a 10 percent cut....

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[Case Study] How a Pay-What-You-Want Pricing Model Can Generate More Revenue | Copyblogger

[Case Study] How a Pay-What-You-Want Pricing Model Can Generate More Revenue | Copyblogger | Tracking Transmedia | Scoop.it
Could a pay-what-you-want pricing model help digital entrepreneurs offering e-books, special reports, and e-courses earn more?

 

You probably know that finding the sweet spot in pricing the offer of your information product can make all the difference between generating substantial revenue and, well, running a promotion that bombs.


I’ve discovered something that adds a little icing to that sweet spot.

 

It all started when my husband mentioned a Kickstarter campaign for a boardgame where the designer let contributors pay what they wanted, with a minimum of $5, until a certain amount was reached. Then it turned to a pay-what-you-will model for everything over $10, and so on....

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Vimeo Announces Open Platform For Creators To Earn Money From Their Videos

Vimeo Announces Open Platform For Creators To Earn Money From Their Videos | Tracking Transmedia | Scoop.it

Vimeo to offer Creators Two Flexible Payment Options

 

Vimeo® today announced two new features that enable creators to earn money from their films and videos. Available now, Tip Jar allows viewers to show their appreciation to creators by voluntarily contributing money to support their work. Over the next several months, Vimeo will also roll out an open pay-to-view service that allows creators to sell their work behind a paywall.

 

Vimeo’s focus on quality and creativity has allowed it to become one of the Web’s top 10 distributors of video online [1] with more than 75 million monthly unique visitors [2] and one of the world’s largest creative networks with over 13 million registered members. Vimeo’s introduction of Tip Jar and its upcoming pay-to-view service provide a clear path for video creators to build businesses around the films and videos they create.

 

“Empowering creators to make money from their videos is a logical next step for Vimeo as a service and an opportunity to expand the overall marketplace for video creators and viewers,” said Vimeo CEO Kerry Trainor. “Established creators and emerging talent alike can connect directly with their audiences without the need to conform to industry standards around video format, price or timing releases.”...

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Very Cool: “Single Sentence Animations” Visualize the Short Stories of Contemporary Writers

Very Cool: “Single Sentence Animations” Visualize the Short Stories of Contemporary Writers | Tracking Transmedia | Scoop.it
Kindle, and ePub.  One clever way they promote short fiction is with a free, weekly single-story feature called “Recommended Reading.' And with the help of an animator and a musician, Electric Journal produces what it calls a “Single Sentence...
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Behold, The Very First Documentary Shot With Google Goggles

Behold, The Very First Documentary Shot With Google Goggles | Tracking Transmedia | Scoop.it

Remember when we said that Google Glass needed Gucci and Prada to reinvent its tech as cool? Well, apparently they took the advice pretty literally.

 

They’ve just revealed the first, first-person documentary (short) shot through Google Glass, and it’s from the perspective of famous fashion designer Diane von Furstenberg, during her hectic Sunday at New York Fashion Week....

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Social enterprise claims front spot in iPhone 5 queue (Wired UK)

Social enterprise claims front spot in iPhone 5 queue (Wired UK) | Tracking Transmedia | Scoop.it
Crowd Fuelled Causes has taken pole position in the queue for latest iPhone to raise awareness for its project aimed at helping vulnerable women (Social enterprise claims front spot in iPhone 5 queue http://t.co/qUBo0ESW...)...
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“Gathr is the Love Child of Netflix and Kickstarter” | Future of Film

“Gathr is the Love Child of Netflix and Kickstarter” | Future of Film | Tracking Transmedia | Scoop.it

Who wins when the new wave of crowd-sourcing for theatrical distribution get more movies into more theaters across the country? We all do, says Scott Glosserman, the founder and CEO of Gathr: content owners, theaters, and audiences....

 

HERE ARE SOME BOX OFFICE STATISTICS:

 

♦ 610 films were released in theaters in 2011.

 

♦ 469 of them received some form of a limited theatrical run, while 141 of them received a wide studio release.

 

♦ Of the 469 films with limited theatrical engagements, only 37 were released by a studio’s “specialty” division (e.g. Fox Searchlight, Sony Pictures Classics), and only a few of those played widely throughout the country.

 

♦ Additionally, 66 of the 469 films were released by just two art-house distributors, Magnolia and IFC.

 

♦ Of those 66 films, only 3 films played in more than 100 theaters. The vast majority played between 1 and 10 theaters....

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Resurrecting Abe Lincoln’s Bodyguard (Via Twitter) | Future of Film

Resurrecting Abe Lincoln’s Bodyguard (Via Twitter) | Future of Film | Tracking Transmedia | Scoop.it
What happens when a 19th century bodyguard is sent 150 years into the future to help with an indie film’s marketing campaign? He holsters his gun and sits down at the keyboard: meet Ward Hill Lamon.

 

Today’s social media tools offer free and easy ways to build advance awareness about a movie, key for any indie film with a limited budget. The indie film Saving Lincoln, directed by Salvador Litvak and scheduled for release this fall, might be up against Spielberg’s big-budget epic in the battle for mind share among moviegoers, but it has two key elements in its favor:

 

1. Its focus on Ward Hill Lamon, an oft-neglected historical figure who was Lincoln’s friend and legal partner in Illinois and played a major role in keeping the President alive during the Civil War as his personal bodyguard.

 

2. The film’s use of Twitter to drive awareness.

 

Because the movie can’t cover all the events in Lamon’s colorful life, Twitter has played a key role in adding dimensions to the character in ways that weren’t possible in the past, when an expensive website was typically the only avenue for leveraging the Internet to market a film.

 

Websites also require your audience to come to you, whereas you can use social media to go to your audience and keep them interested in your project. Considering our Twitter account for the film now has over 9,000 followers before the film is even slated for theatrical release, we believe we have found our audience with social media....

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