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....
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 (126.96.36.199.188.8.131.52.18.1.1110 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."...
While this summer's #WhyIVolunteer Photo Contest was a huge success, we also learned a lot about online contests that we can share with you.
As a general rule, photos are far more effective tools than words for communicating your organization’s story. But after this summer’s #WhyIVolunteer Photo Contest, we’ve started thinking: why not have both?
For VolunteerMatch, the #WhyIVolunteer Photo Contest was the first social media campaign of its kind that we’ve attempted. In an initiative to generate personal stories from actual VolunteerMatch users, we asked the volunteers in our online communities to submit a photo of their service in action and one sentence explaining why they volunteer.
“Web 3.0": for those of you who might have been sleeping during your Internet History classes, this third generation of the Web is one which expands upon the linkages, accessibility and collaboration enabled by Web 2.0 technologies such as social media and content-management systems.
Web 3.0 extends the idea of a more open internet by seeking to fundamentally change the way the internet is coded and data is represented.
The idea is that if its possible to standardize the way content is organized on the web into a family of categories, then those categories themselves will have basic meaning to other sites and applications that might be accessing that data.
Back in June, The Last Story’s lead designer, Takuya Matsumoto, revealed that Mistwalker were interested in the idea of developing role-playing games for the Wii U. Matsumoto, who works at Marvelous AQL, collaborated with Hironobu Sakaguchi and Mistwalker on the game.
Recently, we asked Matsumoto what he’d like to do with the Wii U, to push JRPGs forward. He replied that he feels the Wii U’s new controller with a screen built into it is useful for organizing information, and that he was interested in taking advantage of this.
“I feel that the Wii U’s interface, as with other tablet devices, works best for browsing and arranging information,” Matsumoto told Siliconera.
Inserting a robot that gets things wrong into a classroom environment may sound counterintuitive, but according to a new Japanese study, it's something that helps children learn.
If you believe that the best way to learn is through simple trial and error, you’ll be happy to know that – despite numerous impressive advances in technology that have seen the introduction of not only computers, but also tablets, into the classroom – the educational establishment still agrees with you. It’s just that the failures that teach children belong to robots now, apparently.
A story in New Scientist explains that Japanese children are learning to speak English faster than before thanks to a new robot that tries to teach them, but gets things wrong. The discovery comes after Shizuko Matsuzoe and Fumihide Tanaka, two scientists at the University of Tsukuba, studied nineteen children aged between four and eight years old interacted with a humanoid robot known as Nao as it tried to teach them simple English words for shapes such as “circle,” “square” or “heart.”...
I am collaborating with Robert Scoble on a new book, The Age of Context. It is about the next phase of technology's relentless advance.
Our opening chapter deals with five converging forces:  social media,  really smart mobile devices,  sensors,  Big Data and  mapping. We argue that the confluence of these five forces creates a perfect storm whose sum is far greater than any one of the parts.
Following is an extract from the book. It is an extremely brief history of social media, plus a look at what it has become in an amazingly brief period:
“Social media …has been the most disruptive of our five forces. It is also the youngest. In 2005, when we started researching an earlier book extolling its virtues, there were less than 4 million people using it and many business people dismissed it as a passing fad. By 2012, there were nearly 1.5 billion people using social networks on a regular basis....
In the realm of Transmedia storytelling there seem to be some companies that get it and others that completely miss the mark. One of the success stories is the book publisher Scholastic, who, over the course of the last few years has had multiple Transmedia book series on the market, and who continues to invest increasingly in this format. At a time when publishers are desperately looking for ways to make books attractive to teens and younger readers, Scholastic looks like the smartest kid on the block with their selection of spooky, adventurous, and engaging Transmedia offerings....
MIPCube speaker Kreisinger's Mad Men TV remixes got more views than the show's official trailers.
I created the viral Mad Men remix, Queer Men: Don Loves Roger as part of a larger, on-going project for remixing TV narratives in our collective pop-cultural consciousness to tell a story that’s a variation on a theme. Some call it remix, others fan fiction.
I called it writing for TV with TV.
Both “Queer Men” and my previous remix, ”Mad Men: Set Me Free” individually received more views than all the AMC YouTube trailers for season 5. AMC created about 5 trailers, each with about 25,000 views each...
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...
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....
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  with more than 75 million monthly unique visitors  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.”...
VideoMan of Action Studios is a bi-coastal entertainment company that was started in 2000. The studio’s best known for creating the international hit Ben 10, a $3 billion boys’ action empire, along with cult favorite series Generator Rex, for Cartoon Network. Man of Action Studios, the creative collective formed by creators Joe Casey, Joe Kelly, Duncan Rouleau and Steven T. Seagle, worked on the largest franchise characters in comics from Superman to X-Men before refocusing on creating their own original worlds and characters for their comic books and graphic novels, which are published through their Man of Action imprint at Image Comics.
They’ve been busy in the gaming world with projects like Activision’s X-Men Legends and D3 Publisher’s Ben 10 franchise. The creators talk about the convergence of games and the transmedia plans of their projects in the videos throughout this post....
Top 10 Choose Your Own Adventure Style Interactive YouTube Videos...
One of the hidden treasures of YouTube that a lot of viewers aren’t aware of is the fact that it is full of exciting Choose Your Own Adventure style videos. Thanks to YouTube Annotations, creators are able to insert links allowing viewers to click and choose the direction they want the story to take. We’ve compiled a list of ten of the most exciting YouTube interactive adventures for your interactive viewing pleasure, so sit back and get ready to choose your own adventure!...
research mapping the future direction of locative media, which is essentially the convergence of our networked, real-time, digital world with the physical world we inhabit in our everyday lives. This was part of the "Best of Houston" panel showcasing some of the work from students in the University of Houston's Futures Studies graduate program.
While all the content and slides are licensed under CC-Attribution, the audio recording is owned by World Future Society and Intelliquest Media. Audio has been provided with the express permission of both rights holders.
A short-form series following the lives of five budding musical stars, Totally Amp’d works across TV, online and on mobile devices. Innovative interactive features include the possibility to remix selected songs, and to direct your own music videos.
Zieuter.tv (Radio Canada)
The brainchild of Micho Marquis-Rose, one of MIPTV 2012′s “New Producers to Watch”, this French-language drama is totally interactive, in that viewers can influence plotlines’ outcomes.
Gamification: that involves applying game design thinking to non-game applications to make them more fun and engaging. Gamification has been called one of the most important trends in technology by several industry experts. Gamification is a strategy which has its precursors from the Soviet Union’s involvement of workers at work with games and experiments and USA’s various management approaches, with a sense of childhood’s play, to weaken the split between work and play. Such strategies have also been widely used in the design of multi-media games for entertainment, which engage the game players with “playfulness” and fun.
Gamification sounds novel to education, and has not been widely applied as yet. However, if we treat education as a business entity, then why can’t education be gamified.
The magical bullet with gamification relates to:
1. Turning grade into fun – with game levels
2. Using agency in game – to provide choice
3. Leverage external motivators – with game, and Alternate Reality Game....
Faculty members and students at the Sensory Ethnography Lab at Harvard are trying to create films that reflect the messiness of life.
TUCKED within the syllabus for a class that the filmmaker and anthropologist Lucien Castaing-Taylor teaches at Harvard is a rhetorical question that sums up his view of nonfiction film: “If life is messy and unpredictable, and documentary is a reflection of life, should it not be digressive and open-ended too?”
Straddling academia and the art house, Mr. Castaing-Taylor and his associates and students at the Sensory Ethnography Lab at Harvard have been responsible for some of the most daring and significant documentaries of recent years, works that — not incidentally — challenge the conventions of both ethnographic film and documentary in general.
Documentary, as practiced in this country today, is a largely informational genre, driven by causes or personalities. The ethnographic film, traditionally the province of anthropologists investigating the cultures of others, is in some ways even more rigid, charged with analyzing data and advancing arguments. In both cases the emphasis is on content over form. What tends to get lost is the simple awareness that film, unlike a pamphlet or an academic paper, is a medium ideally suited to capturing the flux of lived experience....
When you take your show multi-platform, how can you be sure the audience will follow?
....I would liken transmedia to the encores at a concert. Whatever band you go to see, everyone knows that the last song is by no means the last song. After the band has struck the final chord and smashed a guitar or two on stage and left, all you, as the audience, need to do is clap your hands and shout ”ONE MORE SONG!” and lo and behold, the band re-enters the stage and does at least three more songs.
Transmedia is the encore of the media industry, minus the clapping and the shouting; when the television programme or series is finished, transmedia storytelling gives the audience an encore to go to, to immerse themselves further into the world of the story. A good example might be the continuation of the Avengers-franchise, which is now reportedly branching out into television, opening up untold possibilities for brand extension, mythology-building and revenue-reaping.
With this in mind, here are five handy tips to keep in mind when travelling to MIPCOM this year, to maximise your chances of transmedia success with your IP:
1. Can you extend it?
This is key if a property is to be considered appropriate for transmedia storytelling methods; there needs to be an underlying foundation to draw on and build from in order to create and produce meaningful transmedia extensions or parallel storylines. For fiction this is almost always a given, but when you start looking at game shows and quiz shows, for instance, the challenges become more pronounced and demand thorough development work from the outset....