The phrase “transmedia storytelling” has been widely adopted in media/entertainment circles in the past few years. Originally used by Marsha Kinder, the concept was explored in-depth by Henry Jenkins in his 2006 book, ...
Susan Resnick West: "Over the past two years, we have been designing an innovation process we call “Think & Do.” These 6-hour workshops provide a formal but atypical ideation process through which people tackle provocative questions and develop new products and collaborations."
Kevin Holmes: "Felix Mortimer is a former member of Punchdrunk who has gone on to found RETZ with Simon Ryninks, and earlier this year the company performed an experimental version of Shakespeare’s The Tempest called O Brave New World, which took place over six months and across the physical and online worlds" ...
Jasper Visser: "To address the most important issue first: there is no such thing as digital storytelling. There’s only storytelling in the digital age, and frankly speaking this isn’t much different from storytelling in the age of hunters, gatherers, dinosaurs and ICQ" ...
First of all, not every story/property needs to be or deserves to be or should be made a transmedia property. Many—many!—stories are perfectly fine as traditional, mono-media properties, and are in fact better. While John Green’s The Fault in Our Stars has spawned tons of fan art and creations, I would never want it to be a transmedia property—I think it would ultimately take away from the experience of the main part, the novel.... What you’re asking is actually a couple different questions: You want to explain to someone the value of transmedia, and you want to know if a traditional writer actually needs to do anything different when writing for transmedia.
Most transmedia stories are more or less fluff. Sure, they engage the reader/viewer/listener in a more challenging and sophisticated way than traditional stories, but in the end, the stories themselves are about ghosts, or aliens, or time-travel, or some other such escapist genre (To be clear, that's big part of why we love them). Every now and then, however, a transmedia story comes along to tackle something bigger, more serious, and more real. One such story is Ed Zed Omega, by Andi McDaniel and Ken Eklund.
Ingeborg van Beusekom: "Directing digital storytelling? What does that mean exactly? The word says it all: taking charge and thus taking control."
Directing digital storytelling means nothing more or less then attempting to build a conversation in time. In such a way that you control this conversation, to the extent possible in this virtual world. Hence the three pillars of Digital Storytelling. The roadmap (interaction calendar)
Simon_Staffans: 'A quick post on one thing I’ve been looking into lately; with all the rage around multiplatform storytelling, transmedia storytelling etc, many of the examples and projects up right now are ”fresh”' ...
"The emotionally charged story recounted at the beginning Dr. Paul Zak's film—of a terminally ill two-year-old named Ben and his father—offers a simple yet remarkable case study in how the human brain responds to effective storytelling. As part of his study, Dr. Zak, a founding pioneer in the emerging field of neuroeconomics, closely monitored the neural activity of hundreds of people who viewed Ben's story. What he discovered is that even the simplest narrative, if it is highly engaging and follows the classic dramatic arc outlined by the German playwright Gustav Freytag, can evoke powerful empathic responses associated with specific neurochemicals, namely cortisol and oxytocin. Those brain responses, in turn, can translate readily into concrete action—in the case of Dr. Zak's study subjects, generous donations to charity and even monetary gifts to fellow participants. By contrast, stories that fail to follow the dramatic arc of rising action/climax/denouement—no matter how outwardly happy or pleasant those stories may be—elicit little if any emotional or chemical response, and correspond to a similar absence of action. Dr. Zak's conclusions hold profound implications for the role of storytelling in a vast range of professional and public milieus."
Was kommt nach Blogs, Facebook und Twitter? Wie publizieren wir morgen? Das fragen sich sowohl die Fans sozialer Netze, also die Amateurverleger, wie auch Zeitungen, Zeitschriften und elektronische Medien. Es sind bereits einige Nachfolgekandidaten auf dem Markt, die gerade mit Energie daran arbeiten, eine kritische Masse an Mitgliedern aufzubauen.
There's an enormous difference between being a story writer and being a regular person. As a person, it's your duty to stay on a straight and even keel, not to break down blubbering in the streets, not to pull rude drivers from their cars, not to swing from the branches of trees. But as a writer it's your duty to lie and to view everything in life, however outrageous, as an interesting possibility. You may need to be ruthless or amoral in your writing to be original. Telling a story straight from real life is only being a reporter, not a creator. You have to make your story bigger, better, more magical, more meaningful than life is, no matter how special or wonderful in real life the moment may have been.
Ntabo0: "Using several media channel to tell their story (across several platforms, complementing each other), they were able to engage and convert people into brand evangelist (active seekers in this case) and exponentially increase the search radius. This campaign is simply brilliant."
This story is about augmented reality, specifically when it comes to mobile apps or AR technologies that use mobile devices to be read from.
"A great example of such an app is Piclings, an iOS game that uses the iPhone’s camera to create level layouts for the game. The game recognizes the images taken by the camera, redefines them digitally, and incorporates them into the game world."
"A sort of dreamscape unto itself, this film charts the creation of several of acclaimed artist Aaron Koblin's most imaginative and game-changing projects, including the crowd-sourced music video for Johnny Cash's song "Ain't No Grave" and the user-customized short film "The Wilderness Downtown," which is set to Arcade Fire's "We Used to Wait" and was created entirely in HTML5. Koblin also describes the genesis and evolution of what may be his most groundbreaking work to date: "This Exquisite Forest," a collaborative art project and online story generator (created with Chris Milk and the Tate Modern museum in London) built and nurtured by web users. Koblin's remarkable oeuvre draws increasingly on the immense computing, storage, and data-sharing capabilities of the current generation of computers—as well as recent innovations like hardware-accelerated browser graphics—and demonstrates in the most vivid ways imaginable the infinite artistic and narrative possibilities of crowdsourced digital creation and autonomous storytelling.."