Transmédia storytelling. Dick Higgins: Statement on Intermedia. Art is one of the ways that people communicate.
It is difficult for me to imagine a serious person attacking any means of communication per se. Our real enemies are the ones who send us to die in pointless wars or to live lives which are reduced to drudgery, not the people who use other means of communication from those which we find most appropriate to the present situation. When these are attacked, a diversion has been established which only serves the interests of our real enemies. However, due to the spread of mass literacy, to television and the transistor radio, our sensitivities have changed. The very complexity of this impact gives us a taste for simplicity, for an art which is based on the underlying images that an artist has always used to make his point. Goodness only knows how the spread of psychedelic means, tastes, and insights will speed up this process. Un autre monde musical est possible nous dit Trent Reznor.
On peut voir le document que nous vous présentons aujourd’hui comme la majeure contribution du Framablog au débat actuel sur le trop fameux projet de loi « Création et Internet », qui porte si mal son nom.
Nous sommes en effet fiers de vous proposer la traduction (sous-titrage et transcription écrite ci-dessous) d’une conférence qui apporte comme un grand bol d’oxygène à la période tendue et crispée que nous sommes en train de traverser. Oui, avec du talent et de l’imagination, on peut (économiquement) réussir dans la musique en dehors des circuits traditionnels (comprendre avant tout les Majors du disque) en utilisant à plein les extraordinaires potentialités d’Internet pour se mettre directement en relation avec son public. C’est ce que démontre le parcours de l’artiste Trent Reznor, chanteur des Nine Inch Nails, brillamment analysé ici par Mike Masnick, dont le blog décrypte les tendances des nouveaux médias sociaux.
25 Things You Should Know About Transmedia Storytelling. Let’s get this out of the way, now — this, like many/most of my other lists, could easily be called “25 Things I Think About Transmedia.”
It does not attempt to purport concrete truths but rather, the things I believe about the subject at hand. I am something of an acolyte and practitioner in the transmedia cult, and sometimes give talks on the subject (as I will be doing next week in Los Angeles). So, here I am, putting my transmedia ducks in a row. Please to enjoy. 1. The current and straightest-forwardest (not a word) definition of transmedia is when you take a single story or storyworld and break it apart like hard toffee so that each of its pieces can live across multiple formats. 2.
Transmedia is, admittedly, kind of a buzz-word. 3. Alternate reality game. An alternate reality game (ARG) is an interactive networked narrative that uses the real world as a platform and employs transmedia storytelling to deliver a story that may be altered by players' ideas or actions.
The form is defined by intense player involvement with a story that takes place in real time and evolves according to players' responses. Subsequently, it is shaped by characters that are actively controlled by the game's designers, as opposed to being controlled by artificial intelligence as in a computer or console video game. Players interact directly with characters in the game, solve plot-based challenges and puzzles, and collaborate as a community to analyze the story and coordinate real-life and online activities. ARGs generally use multimedia, such as telephones, email and mail but rely on the Internet as the central binding medium. Un regard transmedia sur l’industrie de la musique. Faced with the evolution of uses and new media consumption habits, the music industry has to face similar problems to those seen in the audiovisual industry: unstable audiences, growing competition and pirating.
However, new economic models and multiplatform projects are emerging: Jay Z, Gorillaz or Nine Inch Nails for example, are reinforcing their relationships with their audiences through storytelling. 1New distribution models The authors of record labels are faced with one main problem these days: the decreasing sales of material media (CD, DVD), which is directly linked to the digital explosion. Transmedia Storytelling. 1341295934-RE.pdf (Objet application/pdf) Le jeu comme outil de storytelling transmédia: l’exemple de Guillaume Barraband. Pour faire connaitre et vendre sa musique, il ne suffit pas d’avoir une boutique en ligne et de faire de la publicité sur Facebook.
Le storytelling transmédia, c’est à dire raconter une histoire autour de votre univers musical via plusieurs supports multimédia, est un moyen de faire rentrer les auditeurs dans votre univers. Dans ce contexte, le jeu est un outil intéressant. Erm0865.pdf (Objet application/pdf) Game Design Advance › Turn Me On, Dead Man: Why Urban Legends Make the Best ARGs. In 1969, whispers of a strange rumor began spreading through college newspapers and radio stations across North America.
Students in Iowa and Michigan had been tracking clues that pointed towards a sinister conspiracy dating back three years, that if true would suggest one of the most disturbing hoaxes ever staged. Though the mainstream media refused to take their claims seriously, they put their word out in broadcasts, reviews and books, in the hopes of spreading the news and letting everyone in the world know the terrible truth of an entire generation’s greatest heroes. Though that information is still widely written off, it is known in every corner of the earth today by three infamous words: Storytelling 2.0: Comment le transmedia peut aider la musique ? Il y a quelques mois j’ai reçu un email de Chloé (@BlankPistol), étudiante à Science Po Grenoble.
